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C O N T E N T SFEATURES 04 3rd International Art Expo Malaysia 2009 06 Urbanscapes 2009 10 KUASA Design Power Asia 09 @ wREGA RE-COVER ARTIST 09 Samsudin Abdul Wahab aka Buden SHARINGS 08 Louder than words: Leon Lim, our man in New York 20 Sebiji Padi: Gelanggang untuk permulaan Yeoh Kean Thai: Commonwealth Art Recidency Award Winner 2009 EXHIBITION HIGHLIGHTS 16 “Temple City”, Paintings and drawings by Orissan artist Kishore Sahoo 16 “Thou Art Women” 17 “Contagion” EXHIBITION REVIEWS 12 The art of recycling the Nando’s way: Aesthetical aspects of sustainable art 19 Build up in beautiful Queensland PASSING 18 Emil Goh OPINION 25 My Child is a Malaysian Artist! OPPORTUNITIES 03 10th Oita Asian Sculpture Exhibition 24 National Art Calligraphy Competition 09 BSLN Programs and Activities 22 ART FOR ALL: Ke’istimewa’an dihargai Nakhon Nayok, Thailand 2-7 Julai 2009 26 BSLN PUBLICATION 27 WHAT’S ON Editorinc. can be accessed at www.artgallery.gov.my/senikini Any feedback and comments please email to us at: [email protected] The publisher, National Art Gallery Malaysia, hold copyright of all editorial content. SENIKINI (ISSN : 1985-7233) is published six times a year by National Art Gallery Malaysia. All Rights Reserverd. Copyright©2009 SENIKINI Malaysian Art Now Printed in Malaysia. PUBLISHER Balai Seni Lukis Negara National Art Gallery Malaysia Ministry of Information, Communication and Culture Malaysia No 2. Jalan Temerloh Off Jalan Tun Razak 53200 Kuala Lumpur MALAYSIA P : 603 4026 7000 F : 603 4025 4987 w w w . a r t g a l l e r y . g o v . my l EDITOR-IN-CHIEF Dr. Mohamed Najib Ahmad Dawa l MANAGING EDITOR Ch’ng Huck Theng l EDITORS Zanita Anuar & Ooi Kok Chuen l DEPUTY EDITOR l Wening Cheah l CONTRIBUTORS / WRITERS Tan Sei Hon, Ben Jaafar, Suraya Warden, Rosyidah Mohd Rozlan, Kishore Sahoo, wREGA, Syafq Ali’am, Bed Samat, Seki Ng Sek-yan, Ooi Kok Chuen, Vanessa Bates dan Ismaliza l DESIGN Nuzaihan Mustapa & Shamizar Rahim l PHOTOGRAPHY Muhamad Akmal Hakim and Mohd Fitri Abd Rahman l Cover : DATUK SYED AHMAD JAMAL Semangat Ledang, Acrylic on canvas, 203 x 274.5 cm, 1999 BSLN2003.073 In conjuction with his 80th birthday,a retrospective exhibition of Malaysia’s foremost National Visual Arts Laureate, Datuk Syed Ahmad Jamal will be held at the National Art Gallery of Malaysia. Entitle “Syed Ahmad Jamal: PELUKIS”, the exhibition will showcase rare, never before seen and iconic works from various genres and discipline. When one gazes at Syed Ahmad Jamal’s Semangat Ledang one realises that much of the energy that this great artist transfers into his art surely transforms and disperses into waves of energy that touch others. And with that invaluable mode of contact only artists may enjoy, one can only be more inspired. We celebrate for all artists when we honour Syed Ahmad Jamal with the special exhibition, Syed Ahmad Jamal: PELUKIS in the royal presence of HRH Yang di-Pertuan Agong Al-Wathiqu Billah Tuanku Mizan Zainal Abidin Ibni Al-Marhum Sultan Mahmud Al-Muktaf Billah Shah this October. Much of the inspiration for this issue of revolves around the waves of artistic energy. From mega events like the 3rd International Art Expo of Malaysia coordinated by Art Expo Malaysia Sdn Bhd and the KUASA Design Power Asia 09 hosted by wREGA to the laudable yet quieter individual efforts by Commonwealth Art Award recipient Yeoh Kean Thai and then there’s Seki, sharing his opinion that a mother should declaring proudly her son is an artist. We are served with rice and chicken specialties in Ben Jaafar’s piece on Sebiji Padi and Rosyidah’s Nando Chickenland’s aesthetics. Suraya Warden writes about her trip to Australia with an article on GoMA as we anticipate what the Sixth Asia Pacifc Triennial this December would hold for Malaysian artists. Samsuddin Wahab proves why he deserves artistic licence to SiSiTV us and the rest of the world as the re-cover artist of 04 while our curatorial staff members Tan Seihon and Zubaidah(Bed) proclaim the power of community art and young and emerging special artists. Indeed the semangat of the octogenarian Syed Ahmad Jamal inspirationally permeates and is permutated infnitely beyond these pages and for generations to come . Dr. Mohamed Najib Ahmad Dawa Editor-In-Chief F E A T U R E S 04 The stage is set for another blockbuster international art show. The 3rd International Art Expo Malaysia (AEM) 2009 will again bring together some of the fnest galleries and their featured artists from all over the world. The world fnancial turmoil earlier on has not marred or dampened the enthusiasm and momentum of Malaysia’s exciting showcase and hub of art commerce, networking and impulses. “The show must go on as it is both a commitment as well as a labour of love as until this year, it was only the only two such Expos, the other being the Singapore Art Fair,” said AEM Sdn Bhd managing director Vincent Sim. This year, Manila and Jakarta have also mounted their own art Expos, both with generous government funding and support. The 3rd AEM will once again be held at the Matrade Exhibition and Convention Centre (MECC), from November 19 to 23. The National Art Gallery, which has been supportive of the last two AEMs, is actively involved this time as co-organiser. This year will also be a local celebration of sorts as more established galleries have joined to show off some of the more interesting creations and expressions of diverse range and media. Artseni, Pelita Hati House of Art, ArtCase Galleries and City Art Gallery have once again confrmed participation. Prepare for a greater potpourri of Malaysian art with the participation of RA Fine Arts, Richard Koh Fine Art, Gallery Chandan (Threehundredsixty Gallery), Metro Fine Art, Sutra Dance Theatre and Gallery, Artfolio, Yahong Art Gallery, a2 Gallery, The Annexe Gallery, House of Matahati and Art Salon @ Seni by The Art Gallery, Penang. Despite the economic gloom, there are more exciting things afoot at AEM3. e-Art will make a strong presence with Digital Art China video art/animation while Japan will make its debut through Noda Contemporary, which has bases in Nagoya, Japan, and Beijing China. There will also be galleries from Spain, Hungary, Myanmar, India, Indonesia, China, Japan, Singapore, Thailand, the Philippines, Taiwan, Hong Kong while confrmations were being worked out elsewhere at press time. The South Korean artists’ cooperative, International Art Cooperative Organisation (IACO), led by its accomplished watercolourist Lee Byun-Lyol, has become an annual staple with a changing but strong line-up each time and it will form the biggest foreign participation again. Digital Art China features six vanguard digital-based artists namely Miao Xiao Chun, Feng Jiangzhou, Bu Hua, Zhang Xiaotao, Li Qintan and Feng Mengbo. The superstar among them is Miao, whose panorama based on Michelangelo’s Last Judgement several years ago was a crowd attraction. This time, he will be giving a modern update on Hieronymus Bosch’s The Garden of Earthly Delights in a work called Microcosm. The other fve artists are Feng Jiangzhou, Bu Hua, Zhang Xiaotao, Li Qintan and Feng Mengbo. India, which has seen some of the most spectacular rises in contemporary art in recent years, will be represented by Janus Art Gallery and Samanvai Art Gallery. Janus comes from a strong Bengal art tradition epitomised by the likes of Abanindranath Tagore (1871-1951). Samanvai Art Gallery will also be hosting Portuguese artist Mario Principe. Chit Fung, Hong Kong’s premier house of Chinese art, will again make its presence felt. Singapore which has Jasmine Fine Art and Linda Gallery, will not only show works by artists from Singapore but those from China, Myanmar and other South-east Asian countries as well. Jasmine Fine Art will be concentrating on its MAD Museum of Art and Design show. Two galleries directly from China, Haya Art Shop and Zhe Jiang Independent Art Centre will be making their debut. Galeri Joquin of the Philippines will bring a wider range of works of Pinoy Art with their strong Spanish art historical link while Indonesia will be represented by Koong Gallery, Puri Art Gallery and H Gallery. Thailand’s Number 1 Gallery and Myanmar’s Summit Art Collection and ACD Gallery will offer glimpses of art north of Malaysia. Making a hattrick is the reputable ATR (Art To Rent) Gallery of Spain with two of its highly visible emerging artists, Jesus Curia and Guillermo Oyaguez, while Hungary’s father-and-son team, Zoltan and Daniel Ludvig will be showing off their new works. Taiwan is also making a strong presence with Licence Art Gallery, William Contemporary Art Space and Capital Art Centre under York Hsiao. Besides the digital art show, the organisers have also lined up the 19 Dons from China featuring works of 19 leading professors from the Central Academy of Fine Arts. These China double-header is also to celebrate Malaysia’s 35 years of diplomatic relations with China when then prime minister Tun Abdul Razak Hussein made his historic visit to the then newly opened Bamboo Curtain in 1972. The honour of the Special Tribute Pavilion to a Living Legend Artist this year goes to academician-artist- ceramist Cheah Yew Saik, the founder-principal of the Kuala Lumpur College of Art (1968-2002). Cheah has also been active in founding and heading watercolour societies. It is timely as Cheah will be 70 this December 19 and it will celebrate 50 years of his serious involvement in art. Previous tribute pavilions showcased the works of Datuk Chuah Thean Teng (1912-2008), Datuk Syed Ahmad Jamal, Dr. Chung Chen Sun (all Malaysia), Prof. Li Chi Mao (Taiwan) and Prof. Jang Soon-Up (South Korea). Two other major special projects initiated by the organisers are the Malaysian Art Idols: New Directions/ Different Voices exhibition and the 1Malaysia Canvas Mosaic. The Malaysian Idols show offers a sampling of artists (under the age of 50) who have at different times and in different ways pushed the boundaries of contemporary practices with their unique work in terms of subjects or forms. 1Malaysia Canvas Mosaic will be showcased in AEM3 but will continue until early next year where the accumulated works of 5in x 5in strip of canvas will be assembled into a large canvas. Whatever is completed will be shown at AEM3, and it will be based on impressions of selected artists on the concept of 1Malaysia, the main thrust of the administration of Prime Minister Y.A.B. Datuk Seri Najib Tun Razak. The young editors behind the online art magazine, arteri, has come up with a real teaser and interactive show called Suitcase of Stuff. Find out what it is all about. Those interested in the Henry Butcher Art Auction scheduled for early next year in Kuala Lumpur can visit a special booth for enquries as well as for a sneak peek. As with previous AEMs, the organiser has reserved a section for charity as part of its corporate social responsibility and once again, Have a HeArt comprising works of young artists with special needs, will pique interest. The International Art Expo Malaysia is most fortunate to have the patronage of the art-loving Raja Puan Muda Perlis DYTM Tuanku Hajjah Lailatul Shahreen Akashah Khalil, S.P.M.P. 3rd INTERNATIONAL ART EXPO MALAYSIA 2009 SET TO MAKE BIGGER WAVES l by Ooi Kok Chuen 1 ISSUE #04 Images courtersy : AEM Sdn. Bhd. F E A T U R E S 05 2 3 Zhou Chunya, Green Dog, Back to Back, 325 x 95 x 240 cm, Stainless steel sculpture, 2008. Represented gallery: Richard Koh Fine Art, Malaysia. 1 4 5 6 2 Haron Mokhtar, Rumah kecil tiang seribu siri 2, 122 X 92 cm, Acrylic on canvas, 2009. Represented gallery: Pelita Hati, Malaysia. 3 Liu Ruowang, Rise of the East, 45 x 93 cm, 2008. Represented gallery: Heng Artland, Singapore. 4 Yu Hara, Flying Classroom, 130.3 x 130.3 cm, Oil on canvas, 2007. Represeted Gallery: Noda Contemporary, Japan. 5 Cheah Yew Saik, Joy of Living, 107x137cm, Oil on canvas, 2008. Represented gallery: City Art Gallery, Malaysia. 6 Kalyan Mukherjee, Shelter, 91.44 x 76.20cm, Oil on Canvas, 2009. Represented gallery: Janus Art Gallery, India. ISSUE #04 NOT too long ago there was Urbanscapes. This was before arts and crafts bazaars and other multi arts events were held at the vfew happening places frequented by Yuppies, BoBos and wannabes. Conceived and organised by the lifestyle magazine KLue and Junk, Urbanscapes made its ambitious debut in a bar/restaurant called Grappa Soho in 2002. There were short, experimental flms; photography; animation; music performances and the visual arts. That one-day multi arts and pop culture festival was a success as the venue was jammed packed. There was already a growing and insatiable demand for youth oriented alternative culture and a sympathetic platform for artistic expressions on a variety of issues, and Urbanscapes was it. Many young and upcoming bands and not-so-young and upcoming singer-songwriters have been featured in or associated with Urbanscapes and KLue. Designers, flm makers, actors, writers, activists, misfts and even controversial types have graced the covers and in between the sheets of its magazine. Things were happening then. Then, Adrian Yap, founder/publisher of KLue and Junk along with his team, decided to move the second festival, Urbanscapes 2004 outdoors to the parking area above KL Sentral. It was a bold but ultimately costly decision. Due to the huge fnancial losses incurred, the organisers had to lie low and recuperate for some time. They resurrected the project in 2008, held it at Kuala Lumpur Performing Arts Centre (KLPac) in Sentul Timur, with more sponsors, and an ever growing breed of young talents eager to come to the fore. Tables, booths selling D.I.Y. merchandise also doubled. More upcoming bands and other new acts were featured. Urbanscapes was back! This year, they managed to secure a bigger sponsor, and judging from these pictures, one can conclude that it was rousing success. The tireless commitment of the organisers and participants have over the years turned this mini festival with humble beginnings into an important event that many look forward to be part of. With limited media coverage, no hype and a handful of upcoming acts, it still managed to attract audiences who’ve made their way to Sentul Timur located along Jalan Ipoh. KLPac theatre manager Ian Chow estimated that Urbanscapes 2009 drew nearly 10,000 attendees throughout the day. What is special about Urbanscapes is that it is organised by people who know the upcoming movers, shakers and misfts in the local youth and alternative scene. Said Adrian Yap: “The satisfaction of presenting the best in young, emerging creative talents from around Malaysia to a wide audience (who are not usually exposed to such talent) is one of the main driving forces behind the project.” It is not your typical ‘Sure Heboh!’ type of events centred around media hyped personalities. These elaborate spectacles serve only as a convenient platform for some politicians. These events are also great money-spinners. Back in the 80’s and 90’s, there were the multi arts collective known as Anak Alam which comprised visual artists, writers, poets and actors. They did street theatre and music performances, puppetry, poetry recitals and exhibitions. Centre Stage Performing Arts, too, was active with its many events involving its casts of multi talented artists and performers. Then there were the multi arts and media performances organised by the Five Arts Center (Alter Art, Skin Trilogy, Family, etcetra). Later came the Chow Kit Fest! An independent multi arts festival that involved numerous youth collectives such as SpaceKratf, Rumah Air Panas, Space Spirit Studio, Kino-I, with fnancial support from Artist Pro Active (APA), another important multi arts collective made up of various professionals. The other participating collective, Lost Generation Space, would go on to organise their almost yearly fringe art fest called ‘Notthatbalai’ for much of the new millennium. Many now prominent and important visual artists, writers, playwrights, performance artists, actors and poets were part of these collectives and groups. The challenges they faced were perhaps numerous but dissimilar due to the different context and time from which they operate. But one thing is certain; funding is always lacking and is the factor that determines the quality of the events and even the fate of the organisers of such events. Adrian Yap, too, faces the same predicament “The main challenge for us, like for most other art projects in Malaysia, is to make it a self-sustaining project that is funded primarily from ticket sales and not corporate sponsorship.” Whatever the shortcomings and challenges, Urbanscapes is the most accessible, inclusive and elaborate multi arts festival aimed at the youths that Malaysia has up until now. With a little bit more support, steady funding and its days extended, Urbanscapes can only grow bigger and better. Adrian Yap himself is optimistic. ”We hope to be able to make it a regular URBANSCAPES 2009 Multi Art and Pop Culture Festival Kuala Lumpur Performing Arts Centre (KLPac) l by Tan Sei hon F E A T U R E S 06 ISSUE #04 Images courtersy : writer F E A T U R E S 07 So much to see, so little time! Free in door and outdoor concerts featuring established and up coming acts. There was also a performance by Tugu Drum Circle that involved members of the audience. Most if not all of the stalls were selling d.i.y merchandise. There were some really cool, original and interesting stuffs for sale that day! There were also flm screenings by the works of local flmmakers on various social issues. Numerous young up and coming designers and artists were also invited to showcase their works ranging from installation art, illustrations, new media, multi media installations and hand made crafts. “Hmmm..which one to buy aaa?” Hard-to-fnd dvds and books on a wide range of subjects were also available. feature every year and to progressively include more variety and diversity in what is showcased, and get more and more people involved.” “Additionally, Urbanscapes sums up what KLue is all about in a fun, one-day festival.” For more info on Urbanscapes 09 plesase visit : www.urbanscapes.com.my For information on Klue and Junk Magazines, visit: www.klue.com.my and www.junkonline.net S H A R I N G 08 LOUDER THAN WORDS LEON LIM, OUR MAN IN NEW YORK l by Tan Sei hon vLeon Lim at the CAFA Museum in Beijing for the exhibition ‘ This Ability’ recently. He was the 1st Malaysian to have his works exhibited at this prestigious institution. ISSUE #04 LEON LIM was born profoundly deaf and grew up in a small lower middle class neighbourhood in Kedah. He remembers being a bored and lonely precocious child who developed an interest in art from browsing through images on music cassette sleeves, comic books and magazines at a bookshop located near his father’s work place. His father was a travel agent while his mother was a tailor and dressmaker from whom he believes he inherited a fair for design. His interests in photography began when he was given a Nikon 35mm high standard camera by his father when he turned 15. Lim took up drawing and was encouraged by his teachers even while in primary school where he won many art competitions but stopped before moving to Penang at the age of 12. Lim, who was initially discouraged from pursuing a career in the visual arts by his parents and did not know much about the various thoughts and schools of visual arts, was already using bulbs, discarded machines, lighting, broken glasses, wires, plastic and electronic media back in 1996-98 before going to the United States. He didn’t know what this type of art was called. He admits that information about modern and contemporary art was lacking and started to use the internet primarily as his reliable source of reference in 1996 when he lived alone in Penang for eight years. Being a cerebral type with various interests, he prefers works that are intellectually stimulating and creative and not just mere picture making. He cites old masters such as Leonardo da Vinci, Vincent van Gogh while growing up in Malaysia as his main infuences and later, Andy Warhol, Dada Art, Christo & Jeanne-Claude, Jeff Koons, Mark Rothko, and Andy Goldsworthy. He is studying interior design, architecture, photography and graphic classes at the Rochester Institute of Technology (RIT). Having been based in New York for more than 10 years, Leon Lim is recognised as an emerging and versatile contemporary artist from Malaysia who works in various media. The areas that interest him are the human condition, real-life situations and issues which he tries to portray and address through his works, though the style and methods changes or transforms according to the locality or the country which he fnds himself in. Interestingly, he has been insistent on the need to express and convey ideas that are Malaysian in character or rather refects what the ideal Malaysia should be. The list of names which he submits as having played an infuential role in shaping the view of the world towards Malaysia include iconic cartoonist Datuk Lat, contemporary artist Yee I-Lann, the late flmmakers Yasmin Ahmad and Tan Sri P. Ramlee, and the late art historian/critic Redza Piyadasa. In New York, he is exposed to interesting works by artists such as Jeff Koons, Andy Warhol, Pablo Picasso, Salvador Dali, Cai Guo-Qiang, Takashi Murakami, Francis Bacon and Anish Kapoor. These have not only given him the courage and confdence to experiment and explore ideas and materials, and expand his understanding and defnition of art, but have also provoked him to think in terms of injecting a more Malaysian character and identity into his works. When asked for advice for those wanting to try their luck in the Big Apple, Lim lists three factors. One is being able to ’capture Malaysia’s history, culture, icon and identity and apply them in one’s artworks with creativity and imagination.’ This he feels will only come about when one has the freedom to apply a lateral way of thinking to any discipline and situations. The second is to be able to make works in different, cross disciplinary or interdisciplinary approach and with quality materials. The fnal is to be ever prepared with a good portfolio, press kits and proposals to be given to reporters, art editors, gallerists, museums, and art organisations. He believes that artists should not create works with the market or proft in mind but should stay true to their vision without compromises. These are qualities in artists and their works that serious curators, promoters and art lovers are looking for. Examples are his two paintings, 010911 III & 010911 IV, reacting to the September 11 tragedy that have been on display at RIT since 2001. The Committee of the Sept 11 Memorial Museum had requested to have his paintings for further exhibition in 2011. Also, recently he was invited to exhibit his multimedia installation, ‘Silent Story’ at the Central Academy of Fine Arts Museum in Beijing this year. HIs trip was sponsored by the National Art Gallery of Malaysia. He had his work, ‘Discommunicativeness’, exhibited in the Total Museum of Contemporary Art, Seoul, South Korea in 2008. But Lim is concerned especially with the state of contemporary art in Malaysia. He sees the steady growth and development of the art scene as encouraging but stresses that more could be done through policies friendly to the arts and artists. This includes certain incentives to encourage direct funding and subsidies to non-proft organisations, galleries, art groups and projects via public and private fnancial institutions and corporations. Indirect support can be solicited from donors and taxpayers through tax exemptions. He is also concerned that not many art academies and universities offer programmes on curatorial studies, Malaysian Art studies or even arts administration. He believes these programmes will help create jobs and stimulate a creative industry. Whatever the state of art in the country, Leon soldiers on the only way he knows how, by producing works that are both cerebral and sincere. Leon Lim will further his studies at New York University majoring in Interactive Telecommunication Communication. He cites Danial Rozin, Daan Roosegaarde, Rafael Lozano-Hemmer and Chris O’Shea as recent infuences. He is working on architectural and sculptural installations for the US Department’s American School for the Deaf. For details about Leon Lim and his works, visit : www.26studio.com and http://en.wikipedia.org/wiki/Leon_Lim Images courtersy : artist. RE-COVER STORY : SAMSUDIN ABDUL WAHAB This is Mr. SisiTV; born after static and blur images of the CCTV. The camera-head men with black suit always appear in my artworks. It is a long story. I start to create this wierd creature through drawings in my sketch book and after that this Mr. SisiTV comes into view in my print and painting works. Since I also do quite a few art performances and short flm, this half-man ; half -alien creature also appears in my flm and when I perform with my band; Sosound. I’m very concerned about everything that happens around me and it’s great if I can respond to it. With Mr. SisiTV is how I’m tried to react regarding the freedom, transparency and intelligibility in practicing mass media information in this world. It is how I use to create the character of a man who is honest with the video camera as his head that will capture and record all situations or event that happenes to surround him with candid and truthful observation. This SisiTV will also broadcast news or information honestly and clearly. “I’m really interested about old propaganda posters and editorial commentary cartoon. My work based on my surrounding environment and event that I concern to discuss and share with the audience. I am not the critic; I just want to document the situation around me such as politic, people, government, culture and all of event that surround me.” Samsudin Abdul Wahab (b. 1984) also known as Buden, draws and paints based on his expression and what his honest feelings are. He completed his Diploma in Fine Arts in UiTM Seri Iskandar, Perak in 2005 before undertaking further studies at the UiTM Shah Alam where he graduated with a Bachelor (Hons.) in Fine Arts (Print Making) in 2007. Over the years, Buden has won numerous awards and his works has featured in various art exhibitions in Malaysia. He has held his 1st solo shows “Enough!” at Taksu Gallery Kuala Lumpur in 2008 and he has recently selected by Rimbun Dahan to be artist in residence. Buden is one of the founders of Malaysia artist group “Sebiji Padi” . R E - C O V E R A R T I S T 09 The Thinker (Who Always Think) (after Auguste Rodin), 82cm x 118cm, Linocuts, 2009 Eclipse of the Sun- after George Grosz, 183cm x 153cm, Acrylic, oil, bitumen on canvas, 2009 The Filmmakers, 31cm x 74cm, Linocuts, woodcuts, etching, screen prints, 2007 ISSUE #04 SAMSUDIN ABDUL WAHAB A.K.A BUDEN Designer: Tarek Atrissi, Tarek Atrisi Design, Lebanon, The Netherlands. 10 K U A S A D E S IG N P O W E R A S IA 0 9 by w R E G A Designer: Little Ong, fFurious, Singapore. Designer: Sudhir Sharma, Design Consultant, Pune, India. Speakers: (From left to right) Little Ong, Ahn Sang-soo, Freeman Lau,Sudhir Sharma, Tarek Atrissi & Hermawan Tanzil F E A T U R E S ISSUE #04 KUASA Design Power Asia 09 is here to spread the “power” of design in Asia, with the convergence of the great design minds from South Korea, India, Hong Kong, Indonesia, Singapore as well as Lebanon/Netherlands. It will be a one-and-a-half day conference This conference is all about the new big voice of Asian Design. Asian designer are drumming up worldwide attentions and wREGA is bringing them to Kuala Lumpur, Malaysia with a line-up of megawatt design icons and design powerhouses from all over the region. In the recent years, Asian designers are not merely speaking up about their rooting Asian characteristics and infuences, but showing up the bold and feisty side of their creative visions on the modern day world. The conference will be the inaugural conference organized by wREGA*. The association will be the frst and only internationally recognized graphic design professionals in Malaysia to organize a design conference in the country. “Finally we are able to organise our FIRST design conference after talking about doing one for years and years. It’s fnally here,“ Mr. Koh Lee Meng, President of wREGA as well as the Organising Chairman of KUASA explained. He adds “ This event comes to fruition with much help & support from fellow designers & friends of wREGA who volunteered their free time to help out because we all believe and share the same goal - to uplift the local design industry with better standards, create opportunities and respect for the design profession. KUASA, which means “power” in Bahasa Malaysia, is also derived from “aKU ASiA” or “I am Asian” in the Bahasa Malaysia. We saw a gap in the design conference circuit for an Asian themed conference, which led to... KUASA Design Power Asia.” The conference will kick of with Ahn Sang-soo as the keynote speaker. He will bring up a focal point on “Hangeul, imagination”. Ahn Sang-soo has done various individual and group exhibitions in many country around the world. He is the 1998 recipient of the Grand Prix of Zgraf8, and the 2007 Gutenberg Award from Leipzig, Germany. One of his remarkable contributions is his continual development of new Hangul typefaces. Freeman Lau will talk on “Magenta, Cyan, Yellow and Black of my Design Life”. He is recognised in the fne arts world for his intriguing sculptures and public art. His iconic Chairplay series has been exhibited in Hong Kong, Tokyo, Beijing, Taipei and Holland, and auctioned at Sotheby’s. Little Ong of fFurious, Singapore will share a subject “Today’s Multi-discpilinary Designer; Creativity not bound by Medium”. His diversity of works are thoughtfully taking a notion that creativity should not be bound by medium. “From banners listing-up coming shows at the Esplanade to touch-screen kiosks at the National Museum, evidence of fFurious’ quirky-cool aesthetic can be found all over Singapore”- The Straits Times Singapore. Ignatius Hermawan Tanzil of LeBoYe will bring up a title, “A Creative Melting Pot”. His aesthetic refects an original blend of the Eastern infuences presented with a modern sensibility. LeBoYe have won many national and international design awards including Type Director Club New York, Communication Arts, and featured in publications such as Progetto Gravico Magazine and the recent art4D Magazine, Thailand. On a more business side, Sudhir Sharma will speak about “Creating Business for Designers”. He believes that ideas, innovations and processes from emerging markets are the only future of sustainable growth for businesses. He has been on the Automobile Awards Jury for fve years and a jury on the prestigious inaugural Cannes Design Lions 2008. He is about to launch a new collaborative network initiative that will be a new form of design service offering for clients around the world. Then Tarek Atrissi will bring up ” Design and Typography for the Middle East”. His work has been exhibited at the Guggenheim Museum in New York and is in the permanent Design Collection of the Affche Museum in Holland. His numerous awards include the Type Directors Club, The Dutch Design Award, and two Adobe Design Achievement Awards. Tarek lectures widely across the globe and is the founder of www.arabictypography. com, the online communication platform for Arabic type. In 2004 his team designed Qatar’s country visual 11 Designer: Freeman Lau Siu Hong, Kan & Lau Design Consultants, Hong Kong China. Designer: Ahn Sang-soo, Hongik University Ahn Graphics, Seoul, South Korea. F E A T U R E S ISSUE #04 Images courtersy : wREGA identity. He has worked with international brand consultancies such as Wolf Ollins and Futurebrand. Through each speaker’s background and experiences, this design conference will give you the opportunity to experience new friendships and alliances. In the name of design, all to power up and resonate the designer in you. To add further excitement to the conference and drive anticipation higher, KUASA Designer Showcase + Party offers a night flled with live music and art. Broughtto you by local designers with unique artistic visions, there will be a line-up of installations, performances and motion graphic presentations throughout the 3-hour showcase. Get yourself photographed with larger-than-life hand- painted boxes by D.U.R.A., Pocotee and more. JayLim, Chun-Woei, Dweey and Muid Latif and many more other local designers showed off their work on a wide clear panel while graphic designer-cum-DJ Jonvu takes centrestage with his selection of electrifying music. Partners for KUASA Design Power Asia 09 include Transasia, LeePrint and Bashir. Sponsors include Skyline, MagNaColor and igraphix. About wREGA wREGA the Graphic Designers Association of Malaysia, is a non- proft, non-political organisation with the objective of encouraging professional practice and promoting design excellence in the art and science of visual communication in commerce, trade, industry and education, both locally and internationally. Issued on behalf of wREGA. For further information on the press release, kindly contact : Angela De Souza at [email protected] or 012-243 8692 Designer: Hermawan Tanzil, Leboye Jakarta, Indonesia w w w . k u a s a . w r e g a . o r g DESIGN POW ER ASIA 09 E X H I B I T I O N R E V I E W 12 ISSUE #04 SUSTAINABLE art and design has taken greater signifcance with global warming and climate change. The focus has shifted from balanced environmental factors and socio-economic and even aesthetic concerns to one of the responsible and equitable use of natural and manmade resources. Such works were created as Land Art and Earthworks during the 1960s and early 1970s, but the resurgent drive is about visual languages and conceptual strategies and using sites other than gallery and museum spaces. Going green has become more popular in the new millennium with the trend towards ‘green’ building and eco-friendly products that save energy and resources and preserve the environment, as well as recycling. There are, to name a few, the Head Royce (school), the Cow Hollow Preschool in California and another one in Bali; the Scripps Green Hospital and the Cooper Green Mercy Hospital in the United States. The ‘Green Living’ manifesto of Greg Searle has inspired the rooftop of Renzo Piano’s California Academy of Sciences and the vegetated walls of the Musee du quai Branly. The impact is also visible in a more effcient way of building and a sustainable architecture, and in eco- brand products such as eco air-conditioning with less CO2 emission, Green Label paint with low volatile organic compounds (VOC). Brands such Nike, Adidas, BMW, Levis, Ipanema Gisele Bundchen and Nandos have tailored their design towards sustainability and environmental issues. In the Brundtland Commission named after former Norwegian Prime Minister Gro Harlem Brundtland, the principle spells out that “sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs.” It follows a two-pronged concept, the frst concerning needs, in particular the essential needs of the world’s poor, to which overriding priority should be given; and, secondly, the idea of limitations imposed by the state of technology and social organisation on the environment’s ability to meet present and future needs. But artists face different challenges in visible-ising the sustainable artworks without sacrifcing the aesthetic aspects. But what is sustainable development and the aspect of “aesthetic of sustainability.” According to Victor Margolin, the principle of sustainable development has connection with the Brundtland Commission’s: “the strategy for sustainable development aims to promote harmony among human beings and between humanity and nature.” Margolin suggested three connections that are: harmony among human beings, environmental justice, and harmony between human and nature. His attention to the need for sustainability is to emphasise the need for struggle to achieve the sustainable goals. In some of the art movements and projects, which might consider as sustainable art or precedents for it according to Margolin, falls into several categories: art that engages with the land or landscape; art that incorporates sustainable practices such as recycling; and art that responds to social issues through the production of objects or discourse. In discussion about the “aesthetic of sustainability”, Dr Hildergard Kurt has stated that the aesthetical of sustainability is based on the discussion of art and sustainability with regards to form, practices and the useful result. To her, art and sustainability should be based on something that art provides as a basis for aesthetic judgment, which concerned with sustainability. More organisations are working with artists and artist groups to help raise such concerns and awareness in special projects. One such artists’ collective involved in such collaboration, Free Soil, believes that “art can be a catalyst for social awareness and change.” Artists thus need to look at the aspect of participation and action apart from the mere production of objects. As posed by Margolin, what do we think about art that moves from discourse to action, and an art with an intent to produce a useful result? Margolin stated that artists want to achieve social results without identifying themselves as accountable persons, and how should the critical community respond? What forms, then, does art take in a culture of sustainability? Are they vastly different from the forms of art in mainstream visual culture? And, why is the artist’s work given special status in a museum or gallery if its aims are predominantly practical? Dr Kurts’ view is that art in the modern context is “a form of knowledge.” But, is it the same to be easily understood in a new context? Her belief is that once art is recognised as a cognitive medium, then integrating aesthetic creative knowledge into the sustainability discourse would enable art to bring “aesthetic competence into the cognitive process - which make it different from science and is yet equal to it.” Thus, by widening the artistic possibilities, it has a positive result on the future of art, particularly one that engages with issues of sustainability. It is also important that the production of object or artworks must have new elements of artistic practice: participation and action. Recently, Nando’s launched its second Peri-fy Your Art competition themed ‘The Art of Recycling The Nando’s Way’ in collaboration with NN Gallery. The competition is an extension of the Nando’s ‘Going Green’ campaign ‘Clucking with Mother Nature’ with the aim of promoting Nature-friendly (eco-friendly) artworks among the young. Nando’s, on its part, has also strived to reduce the use of non-recyclable items such as plastic in its daily business. In the competition, the contestants were to transform recycled or recyclable items/materials into art as part of the promotion and preservation of the environment. THE ART OF RECYCLING THE NANDO’S WAY: AESTHETICAL ASPECTS OF SUSTAINABLE ART l by Rosyida Mohd Rozlan 2nd Prize 2D, Tan Piao Quan 1st Prize 2D, Ong Xing Zhuang E X H I B I T I O N R E V I E W 13 ISSUE #04 There were two categories namely 2D Hanging Display and 3D Art Sculpture. For th e record, Mohd Hirzaq, 22, from UiTM Shah Alam, and Ng Zhi Min, 20, from Taylor’s College, won the grand prizes of RM3,000 each in the 2D Hanging Display and 3D Art Sculpture categories respectively. The judges were Angela Hijjas, an arts patron and the de facto manager of the Rimbun Dahan Australia-Malaysia arts residency; artist-curator (Rimbun Dahan) Noor Mahnun Mohamed, Nando’s Chickenland Chief Executive Offcer Mac Chung Lynn, artists Samsudin Wahab and M. Fazli Othman. The winning entries were displayed at the NN Gallery in Ampang, Kuala Lumpur, from July 21 to 31 this year, after which the selected artworks as well as those unsold are displayed at various Nando’s outlets nationwide. SEGi College Subang Jaya has a similar programme through its MAD graduation showcase ‘09 called Paperland - The Robotic Box. It involves students from the Graphic Design, Advertising Design, Interior Design, Creative Multimedia and Video Animation departments. They are to express their true identities in their designs which are related to sustainability practices such recycling used boxes into paper robots. All the works will be sent for recycling after being exhibited. Both these competitions are good strategies to engage, arouse and move people through powerful environments, innovative designs and practical demonstrations. They help foster new forms of environmentalism in the pursuit of Greening The Earth. Rosyida Bt Mohd Rozlan Faculty of Industrial Art & Design Technology Universiti Industri Selangor (UNISEL) Shah Alam Campus Jalan Zirkon A7/A, Seksyen 7, 40000 Shah Alam, Selangor Grand Prize 2D, Mohd Hirzaq Abd Haris Grand Prize 3D, Ng Zhi Min 2nd Prize 3D, Phang Chin Lyn 1st Prize 3D, Ong Boon Koon Exhibitors (at press time) A2 Gallery Malaysia ACD Gallery Myanmar Art Case Galleries Malaysia Artfolio Malaysia Artseni Gallery Malaysia ATR Gallery Spain Capital Art Center Taiwan Chit Fung Art Hong Kong City Art Gallery Malaysia Espi Fine Arts Malaysia Galerie Joaquin Philippines H Gallery Indonesia Heng Artland Singapore House of Matahati Malaysia International Art Cooperative Organization (IACO) Korea Janus Art Gallery India Koong Gallery Indonesia Licence Art Gallery Taiwan Linda Gallery Singapore Ludvig Gallery Budapest Hungary MAD Museum of Art & Design by Jasmine Fine Arts Singapore Metro Fine Art Malaysia National Art Gallery Malaysia Malaysia Noda Contemporary Japan Number 1 Gallery Thailand Pelita Hati House of Art Malaysia Puri Art Gallery Indonesia R A Fine Arts – The Gallery Malaysia Richard Koh Fine Art Malaysia Samanvai Art Gallery India Summit Arts Collection Myanmar Sutra Gallery Malaysia Tembusu Art Gallery Singapore The Annexe Gallery Malaysia The Art Gallery Penang Malaysia The Gallery Contemporary Art Thailand Threehundredsixty Malaysia Times Art Gallery China William Contemporary Art Space Taiwan Yahong Art Gallery Malaysia Zhejiang International Art Centre China EXHIBITION VENUE Menara MATRADE, Jalan Khidmat Usaha, Of Jalan Duta, 50480 Kuala Lumpur * Location map available in our website www.artexpomalaysia.com [email protected] Tel: +603 7728 3677 Fax: +603 7728 5677 Ofce Address No. 61, Jalan SS20/1 Damansara Utama, 47400 Petaling Jaya Selangor Darul Ehsan, Malaysia Exhibitors (at press time) A2 Gallery Malaysia ACD Gallery Myanmar Art Case Galleries Malaysia Artfolio Malaysia Artseni Gallery Malaysia ATR Gallery Spain Capital Art Center Taiwan Chit Fung Art Hong Kong City Art Gallery Malaysia Espi Fine Arts Malaysia Galerie Joaquin Philippines H Gallery Indonesia Heng Artland Singapore House of Matahati Malaysia International Art Cooperative Organization (IACO) Korea Janus Art Gallery India Koong Gallery Indonesia Licence Art Gallery Taiwan Linda Gallery Singapore Ludvig Gallery Budapest Hungary MAD Museum of Art & Design by Jasmine Fine Arts Singapore Metro Fine Art Malaysia National Art Gallery Malaysia Malaysia Noda Contemporary Japan Number 1 Gallery Thailand Pelita Hati House of Art Malaysia Puri Art Gallery Indonesia R A Fine Arts – The Gallery Malaysia Richard Koh Fine Art Malaysia Samanvai Art Gallery India Summit Arts Collection Myanmar Sutra Gallery Malaysia Tembusu Art Gallery Singapore The Annexe Gallery Malaysia The Art Gallery Penang Malaysia The Gallery Contemporary Art Thailand Threehundredsixty Malaysia Times Art Gallery China William Contemporary Art Space Taiwan Yahong Art Gallery Malaysia Zhejiang International Art Centre China EXHIBITION VENUE Menara MATRADE, Jalan Khidmat Usaha, Of Jalan Duta, 50480 Kuala Lumpur * Location map available in our website www.artexpomalaysia.com [email protected] Tel: +603 7728 3677 Fax: +603 7728 5677 Ofce Address No. 61, Jalan SS20/1 Damansara Utama, 47400 Petaling Jaya Selangor Darul Ehsan, Malaysia E X H I B I T O N R E V I E W E X H I B I T I O N H I G H L I G H T S 16 Kishore Sahoo, or ‘Kish’ as he is affectionately called, is a young graduate of Fine Arts of B.K. College of Arts – the only government Arts and Crafts institution in Bhubaneswar, Orissa. ‘Temple City’ is one of the series of exhibitions presented by Sutra Gallery in 2009, promoting Orissan contemporary art. The others in the series feature well known senior artists of Orissa such as Dinanath Pathy, Ramahari Jena, Dillip Tripathy and Arun Jena. ‘Temple City’ is Kishore’s frst solo painting exhibition. The subject of his paintings is inspired by the old part of Bhubaneswar, which has one of the highest concentrations of medieval temple sites in India. These temples, dedicated to Siva in his various forms, (‘Bhubaneswar’ is another name of Siva) are juxtaposed haphazardly with temple water tanks, shanty shops, market squares, tenement buildings together with the ubiquitous cows, buffaloes and goats. The traffc of humanity, animals and even birds together with the criss-crossing of dusty alleys, telegraph wires and poles completes the everyday pandemonium of life in Bhubaneswar where Kishore lives his most impressionable years. In ‘Temple City’, Kishore’s water-colour and acrylic paintings map his haunts in Bhubaneswar with his inimitable impressionistic style. The unique Orissan red-fagged vimanas (temple towers), medieval steps and archways are glimpsed between shanty quarters. His vision is captured in the sombre mood of burnt sienna with gray and dark colours, giving the impression of romantic decay, connection and disconnection of both the timeless old and the make-shift new. A frst-born and only male child, Kish was brought up in Kendrapara, a village town about 100 km from Bhubaneswar, the capital city of Orissa. He had always been interested in drawing and was good in art at school. He remembers his childhood as being close to nature. Landscapes and animals are his favourite subjects. Kishore’s frst trip overseas brings him to Malaysia. He looks at everything with the fresh eyes of youth. He is delighted, awed and wants only to express this new found experience. For the time being, life is an adventure, and the future looks bright for Kishore who will take up another art residency in Aurodhan Gallery, Pondicherry this coming October after his spell at Sutra Gallery. Temple City, Exhibition of Paintings by Kish was exhibited at Sutra Gallery from 25 June to 23 July, 2009 Sutra Gallery 12 Persiaran Titiwangsa 3, Kuala Lumpur Tel: 03 – 4021 1092 (offce hours weekdays) www.sutradancetheatre.com The exhibition, with its catchy title Thou Art Women, will run in two parts and features the artworks of two generations of local female artists. The frst part - “Vignettes of Early History”, run from 4 to 12 August sees key artists from the sixties to present exhibit works that defne their respective styles. The frst part, which is a soft launch, will be held at the gallery’s modern space in Bukit Damansara. Audiences will be treated to a showing of artworks by some of the country’s leading artists that were working actively from the mid-twentieth-century. These include pioneer artists like Mrs Sivam Selvaratnam and Renee Kraal, both members of the Wednesday Art Group (WAG) – one of the country’s frst leading groups of artists, led by the enigmatic Peter Harris - and the country’s frst leading ceramic artist, Ham Rabeah Kamarun, the frst to exhibit abroad and bring the medium into the playing feld of more traditional mediums. Other luminary artists in the frst group of twenty include former Anak Alam member Maryam Abdullah, Dr Siti Zainon Ismail and Normah Nordin, together with Sylvia Lee-Goh, Dr Ruzaika Omar Basaree, Fatimah Chik, Sharifah Fatimah Zubir, Ilse Noor, Hamidah Suhaimi, Faridah Yusof, Sharifah Zuriah, Kalsom Muda, Khatijah Sanusi, Norma Abbas, and Wairah Marzuki, ex-director of the National Art Gallery. Thou Art Women is not intended to be a mere visual showcase of a collection of artworks but a comprehensive project involving other scopes of activities. Its key focus is to start off with some initial efforts to collect and organize data on women artists who have contributed towards the progress of art in the country. The showcase of artworks then will be supplemented with video-recorded interviews and written documentation of the artists’ recent development, which shall be useful archival materials for future reference. To match Galeri Chandan’s savvy for the democracy and effcacy of online documentation; part of these documentation will be presented to the public through the website www.thouartwomen.com before they are published as a complete unit in a special volume. Galeri Chandan hopes that this effort will shine a light on the success of Malaysian women artists and assist in adding a more exhaustive personal context to the readily available documentation. Thou Art Women is curated by a leading art practioner in her own right, Nur Hanim Mohamed Khairuddin, and the gallery is happy to welcome the support from the institutions, women organisations, corporate and public in this endeavour to celebrate Malaysia’s most notable female artists. www.galerichandan.com SUTRA GALLERY PRESENTS ‘TEMPLE CITY’, PAINTINGS AND DRAWINGS l by Orissan Artist, Kishore Sahoo THOU ART WOMEN @ GALERI CHANDAN Goat ( I ) ,Artist - Kishore ,55 cm X 75 cm,watercolour on paper,1993 RM 1600 Wairah Marzuki, Sun Rising,140 cm X 120 cm, Acrylic on Canvas Sharifah Fatimah Zubir Barakbah, Mindscape, 138 cm X 123 cm, Acrylic on Canvas, 1993 ISSUE #04 Faridah Yusoff, Formation Series 1, 13.5 cm X 25 cm X 8.5 cm, Semi- Porcelain, 2006 E X H I B I T I O N H I G H L I G H T S 17 Apa yang dimaksudkan dalam pameran “Contagion” ini ialah satu kesedaran mengenai persembahan karya seni itu adalah satu proses dalam situasi perbuatan dan luahan rasa atau ekspresi seniman. Mengikut satu penulisan oleh Leo Tolstoy yang bertajuk “What is Art”, beliau menyatakan bahawa ramai ahli psikologis dan juga falsafah bersetuju bahawa suatu perbuatan atau aktiviti yang penuh emosi dan perasaan mampu mengurangkan tekanan rasa emosi dan melegakan tekanan saraf. Hasil dari itu dalam kedua-dua kegiatan iaitu : Kehidupan dan penciptaan seni, seseorang yang meluahkan emosinya seringkali melibatkan dirinya dengan sesuatu aktiviti yang lahir dari dorongan dalaman yang memerlukannya mengisi dan memuaskannya. Oleh kerana manusia itu makhluk sosial dan bermasyarakat, ia merasakan lebih puas lagi sekiranya ekspresi itu dapat disampaikan kepada orang lain bagi berkongsi tentang rasa emosi yang dialaminya. Kemampuan karya seni atau artis itu sendiri telah pun banyak memberi infeksi terhadap tamadun manusia seluruh dunia. Secara sedar atau tidak, sebenarnya golongan seniman telah berkomunikasi melalui karya yang wujud dari zaman batu lagi, contohnya seperti terhasilnya lukisan gua yang dinamakan ‘Running Horse Attacked by Arrows’ jelas membuktikan bahawa kebolehan manusia dalam menghasilkan seni tampak pada sekitar 15,000-10,000 Sebelum Masehi di Lascaux, Perancis . Daripada bukti itu secara tidak langsung telah ‘bersuara’ kepada masyarakat hari ini tentang kewujudan mereka.Kita juga mempunyai golongan seniman tersendiri yang telah wujud dari zaman kegemilangan kerajaan Melayu lama hinggalah pada era millennium. Mereka ini juga terdiri daripada golongan yang memperlihatkan pelbagai cabang seni seperti kesusasteraan, muzik, tarian, kraf, seni tampak tradisional dan juga seni tampak moden yang terus mekar. Walau apa pun cabang seni mereka, persamaan yang terdapat pada seniman adalah ekspresi dan emosi, dimana mereka telah melakukan aktiviti seni bagi mendapat kepuasan ataupun melepaskan suara yang terpendam melalui kaedah kesenian dan sosial. Namun apa yang menariknya disini, tidak semua penghayat seni dapat menghayati atau membaca semua hasil seni tersebut, sekaligus tidak merasai apakah sebenarnya emosi seseorang artis yang cuba untuk disampaikan. Ada ketikanya karya seseorang artis itu dapat dihayati ketika artis tersebut masih lagi di zaman hidupnya, dan kurang bernasib baik juga terdapat karya yang hanya dapat dihayati serta dirasai penuh perasaan setelah artis itu meninggal dunia . Keadaan ini tidak perlu dipersalahkan kepada sesiapa pun kerana ia adalah perhubungan sesama manusia yang normal, tetapi terlalu kompleks untuk dibicarakan. Perihalnya, mungkin juga punyai perkaitan dalam pameran “Contagion” ini yang menampilkan empat orang pengkarya muda seni tampak yang berbakat besar iaitu saudara Meor Saifullah, Mahadi, Hafz dan juga saudari Deyana. Keempat-empat mereka memilih catan sebagai media perantaraan ‘jeritan bisu’ mereka kepada masyarakat umum. Disini, saya mungkin tidak membicarakan tentang tiap karya mempunyai emosi semata-mata, kerana pada perkiraan saya masyarakat sudah pun biasa dengan pernyataan tersebut. Mereka yang terlibat dalam pameran ini adalah terdiri daripada graduan UiTM dalam bidang seni lukis dan seni reka yang gigih ‘berkayuh’ melibatkan diri dalam industri seni tampak kontemporari di Malaysia melalui aktiviti berpameran. Jika kita lihat dari sudut positifnya, ramai daripada pengkarya-pengkarya muda seni tampak seringkali menyatakan, karya mereka adalah satu bentuk ‘penyebaran’ ekspresi dalaman mereka. Bagi saya, apakah luahan tersebut baik untuk masyarakat? Atau hanya untuk menunjukkan sifat pengkarya itu sendiri?. Sebagai contoh, seorang artis yang memperlihatkan sifat protesnya kedalam karya dengan menceritakan kemarahannya terhadap sesuatu, barangkali secara tidak langsung menunjukkan beliau adalah seorang yang mudah protes atau pemarah. Sebaliknya pula jika artis itu meluahkan perasaan yang murni untuk dihayati bersama, memperlihatkan artis itu bersifat inginkan sesuatu yang positif buat dirinya dan juga penghayat karyanya. Dari situ masyarakat akan melihat pro dan kontra seorang artis itu dan kelompoknya. Kadangkala sesebuah karya itu mungkin dapat menterjermahkan ‘dalaman’ artisnya. Saya melihat, apa yang dimaksudkan oleh “Contagion” ini adalah berunsurkan satu konsep ‘infeksi’ emosi dan perasaan artis terhadap karya mereka melalui kaedah seni tampak. Empat orang seniman muda ini meletakkan tajuk “Contagion” ini agar diketahui umum bahawa seniman juga punyai peranan dan perasaan serta emosi yang tersendiri untuk didengari biarpun dengan suara yang sangat kecil. Apa yang dipersembahkan oleh mereka ini adalah karya seni tampak yang mempunyai suara kepekaan mereka terhadap sesuatu isu atau topik. Mereka menyampaikan kepekaan mereka terhadap sesuatu melalui kaedah seni tampak yang juga merupakan salah satu media komunikasi yang dianggap sebagai penyampai ekspresi mereka. Pameran ini mendapat inspirasi berdasarkan dari konsep infeksi dan komunikasi emosi dalam seni, oleh seorang ahli falsafah iaitu Leo Tolstoy. Dari kewujudan konsep inilah tercetusnya teori yang disebutkan sebagai “Contagion” yang membawa pemahaman seni itu diibaratkan sebagai bahan yang mampu mempengaruhi emosi dan perasaan sama ada kepada artis mahupun penontonnya . Dengan lebih mudah lagi diperjelaskan “Contagion” itu membawa maksud satu infeksi atau kesan terhadap sesuatu. Sebagai contoh yang ringkas, mereka mengibaratkan sesebuah karya seni itu adalah seperti wabak, seniman adalah pembawa wabak tersebut dan penonton pula adalah penerima kesan wabak tersebut. Disini, mereka mungkin mengukur kemampuan infeksi dan komunikasi tersebut melalui aktiviti kesenian itu sebagai luahan rasa yang dapat dikongsi bersama penghayatnya. Mungkin infeksi yang mereka bawa ini mampu menembusi lapisan tersembunyi perasaan pelihatnya, serta mampu menimbulkan sesuatu yang mendorong kepada emosi dalaman manusia seperti yang pernah dikaitkan oleh Socrates sebagai “Daimon” . Merujuk pada penulisan Mohd Johari Abdul Hamid dalam ‘Falsafah dan kritikan seni’ yang menyatakan bahawa “Artis juga sebahagian daripada masyarakat..dan artis yang melibatkan diri dengan masyarakat adalah artis yang istimewa..” yang membawa maksud mereka (seniman) ini merupakan golongan yang mempunyai keistimewaannya yang tersendiri dalam sesebuah masyarakat . Walau bagaimana istimewa sekali pun, seorang artis juga sangat memerlukan interaksi sesama manusia untuk bersosial bagi mendapatkan inspirasi, pengamatan dan juga pengalaman untuk diaplikasikan kedalam karya. Sejauh mana keistimewaannya barangkali terletak pada kekuatan kesenian mereka dalam memberi kesan kepada dunia industri seni. Mungkin akan diketahui jawapannya atau tidak bagi peringkat awal ini, namun apa yang pasti, infeksi “Contagion” ini juga bergantung pada reaksi penonton dalam pameran tersebut. Untuk teks penuh layai www.thr3sixty.com CONTAGION @ 360 l by Syafq Ali’am Deyanna Deraman, Journey to the centre of The Earth, Acrylic on canvas, 107 x 68 cm, 2009 Hafz Yusoff, The Untold Story- 1, Acrylic & Bitumen, 122 x 152cm, 2009 Mahadi Ayob, Best Man Win, Acrylic on canvas, 122 x 152 cm, 2009 Meor Saifullah Lullaed, Mr. Goat (Kambing Hitam), Acrylic on canvas, 107 x 102 cm, 2009 E X H I B I T O N R E V I E W P A S S I N G 18 EMIL GOH 1966 - 2009 Emil Goh has passed away suddenly of a heart attack on the morning of 7 September 2009 in Seoul. The National Art Gallery Malaysia would like to pay our respect to his outstanding contributions to art and culture. National Art Galley offers its deepest condolences to his family. May God bless his soul and may he rest in peace. A memorior by Vanessa Bates, an old friend of Emil On Monday, my friend Emil Goh died. I found this out on Twitter. There’s already a lot of stuff in the cybersphere about Emil, he created an extraordinary body of work over the past years. He exhibited in Australia and internationally, he curated, published, produced, photographed, documented,video-ed and basically lived a great life. He received an Australia Council residency for Seoul a few years back and he adored the place, there was no better place or time for making art and making friends- possibly his two biggest skills-and the one went with the other, hand in hand. It is the making friends bit I want to celebrate here because everyone who knew Emil became a friend. Years ago I remember laughing that you couldn’t walk across Newcastle’s Hunter Street Mall with Emil in under an hour – so many people would stop to chat with him. That was indeed years ago, before ‘94 when we still lived in Newcastle - but I bet people said the same thing about Emil in Seoul, London, Hong Kong, Melbourne, Sydney… We met when we were both at Newcastle University, in the early 90’s, and we clicked, apart from anything else because we had both lived in Malaysia (he was Malaysian and I was a RAAF brat) and we both loved the Nonya food. We could drool together over memories of makan(eat in English) cart banana fritters, peanut pancakes and Char Kuay Teow although when it came to the shaved ice desserts, laced with coloured sugar syrup, evaporated milk and various beans, he was on his own. And Emil was always making art. Different kinds of photographs, playing with lomography and those funny plastic split lens cameras that let you take 4 shots in one. More than that, hanging out with Emil involved holding equipment, recording a script or posing for him. You could be asked to sing an aria or run on the spot in the half-light while his camera clicked and whirred, or just ‘be yourself’. He had one of his birthday parties at Singapore Gourmet; we had the place to ourselves. We arrived early so we could help him cover the window and tables with butchers paper and then the dishes began emerging from the kitchen… the tables were decorated with tea lights, glowing through simple lanterns of tracing paper with photocopied images of his childhood - his mother, his father, a tiny spiky haired toddler Emil on the sand. These were prototypes for creative works but until perfected they provided a beautiful, quirky and very Emil-like accompaniment to what was already a fabulously unusual birthday feast. Then there was the infamous yum cha mornings. Enormous tables of people gathered under his instruction, to eat dumplings, to drink tea, to enjoy life. Emil was strict, there were rules; be at the restaurant at 11am sharp or forget it, that’s when you have yum cha, it’s not lunch! Don’t poke at the food with your chopsticks! Turn the teapot lid over when the tea is gone… I got into big trouble from him when I confused the staff at our favourite restaurant, putting a ffty-dollar bill on the table and then waiting for change. No, it wasn’t meant to be a massive tip! Cross waiters made Emil unhappy. It meant fnding a new yum cha restaurant… The yum cha/dim sum love wasn’t all about the food. He bought a dim sum trolley back to Australia with him…and made it into art, an enormous gleaming silver trolley with bamboo steamer baskets towering up to the ceiling. We did an art piece with him when he was still living in Glebe. C and I recorded a telephone conversation and our friend Helen recorded an aria. The audience, each person clutching a portable radio to their ear, trooped after Emil as he led them along Bridge Road past his house. Along the way they stopped on a corner to watch and listen as C lurked in a phone box and attempted to lip-synch his end of the conversation into the receiver. After some sort of dramatic gesture he sped from the box to become another character doing something else. I’m not sure what it was exactly because I was poised between a desk lamp and the closed blinds, ready to throw open my arms and lip-synch to Helen’s aria as the audience trotted past, peering up at the window, their ears full of soprano magic. It was fun, making art with Emil. It was always fun. And thinking back to those times it reminds me that making art should be fun. Should be joyous. Sometimes when I’m crushed down by deadlines or rejection letters or my own insecurities it doesn’t seem like very much fun at all. And that’s not very Emil of me. Emil went to Seoul on his Australia Council residency and then he stayed and stayed. Where’s Emil? We would meet former yum cha compadres in cafes and Chinese restaurants. What’s the latest? Have you heard? I hadn’t, no. There had been an argument, stupid. Rules had been broken and we both needed time to pass. C and I married in 2004 and I fnally sent Emil a photo of my sisters and I in all our wedding fnery. He was lovely, complimentary, happy and signed off Emmyxxx. Things were going well for both of us and we talked a bit about the art but mostly Emil sent me pictures of food and coffee and chairs and kisses and various very silly photographs “for your entertainment”. It was nice hearing from him, it helped get my mind off the sad realities of infertility. He loved life. He laughed lots. But we missed him when he was back in Sydney, I’m sorry!!!! he exclaimed in his email. And he never met up with us again. I’m still processing this loss of this dear friend, this talented artist, this lovely lovely man who was always smiling and fun and who delighted in meeting people and showing people around. I regret not staying more in touch with him, not making more of an effort to see him when he was in town. But we always say this whenever anyone we care about dies. I should have… What I do take solace in is Emil’s ability to live life to the fullest, to fnd the art in everything. The fun in everything. More than anyone else I know Emil knew how to maintain his curiosity, his sense of humour, his generosity of spirit. He was a great host, either in his own kitchen or the streets of a new city, he would take you under his wing, he would show you things. He adored popular culture, kitch, retro – he always seemed ahead of the pack, he found things frst, shared them and then moved onto the next discovery. In the report I read of his death, he was with his girlfriend. And that made me happier. That he wasn’t alone, that he loved someone and that someone loved him back. But then, we all loved Emil. And the world seems darker, less fun, and certainly much less tasty without him. Full text can be read at http://legsup.blgspot.com/2009/09/emil-goh-1966- to-2009-is-too- frigging.html ABOUT EMIL GOH Born in Johor Bahru, Malaysia, Emil studied Photography & Sculpture at College of the Arts and received a Masters in Art from Goldsmiths College, London. Since then, he has developed an interest in urban phenomenon and is fascinated with people’s relationships with technology, design & inhabiting highly dense cities. He moves between urban centres in Asia, Australia and Europe aiming to capture what is important to him as a person living in this time. He chooses ephemeral moments and details from everyday to be represented through his photographs and video works. Much of the energy in Emil Goh’s work comes from his ability to become part of the phenomena he describes, not as a spy or observer, but as a participant and social chameleon. Emil has exhibited extensively throughout Malaysia and internationally. He had exhibited at Australia Arts Centre, Sydney (2007), IF Museum Inner Soaces, Poznan (2007), VWFA Kuala Lumpur (2006), Jakarta Video Festival, Indonesia (2005), Charlottenborg, Copenhagen ( 2005), Busan Biennale (2004), Parasite Art Space, Hong Kong (2003), National Art Gallery Malaysia (2000 and 2005). Emil Goh, MAPKIN Christchurch, 2006. Image courtesy the artist and Valentine Willie Fine Art Mapkin Christchurch, 2006 Site 1: Christchurch Art Gallery Te Puna o Waiwhetu, Worcester Boulevard and Montreal Street corner, Christchurch Map printed on cloth or tyvek Commissioned for the 2006 SCAPE Biennial Emil Goh, emilgoh / emil goh, 2006. Image courtesy the artist and Valentine Willie Fine Art The 6th Asia Pacific Triennial of Contemporary Art (APT6) 5 December 2009 – 5 April 2010, Queensland Art Gallery and Gallery of Modern Art 'APT6' Exhibition | Zhu Weibing, Ji Wenyu | People holding flowers (detail) 2007 | The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2008 with funds from Michael Simcha Baevski through the Queensland Art Gallery Foundation | Collection: Queensland Art Gallery http://qag.qld.gov.au/exhibitions/coming_soon/apt6 19 E X H I B I T O N R E V I E W BUILD UP IN BEAUTIFUL QUEENSLAND The view from elsewhere / Small acts, 7 October - 15 November 2009, Gallery of Modern Art, Brisbane, Australia. l by Suraya Warden The ever-responsible and creative efforts of Australian curatorial teams to support and highlight Contemporary Asian Art through major institutions continue successfully in Brisbane, Queensland. With its beautiful setting, enthusiastic temporary exhibitions and displays of works from impressive permanent collections (including important works by Simryn Gill), the dedication of the Queensland Art Gallery and now its offshoot the Gallery of Modern Art (GoMA) to this area is both necessary and exciting for all. Of course the local multicultural society that includes an onshore Asian Diaspora and frst or second generation Australians of Asian heritage is especially catered to here, but those offshore should never forget that contemporary Asian art benefts from world-class institutional investigation and representation nearby. Modern travel makes Australia - and particularly the Gold Coast - extremely accessible to people based in Kuala Lumpur, and so I was fortunate enough to be able to visit not only GoMA for the frst time, but its group exhibition of video art from Asian and Middle Eastern artists: The View from Elsewhere/Small Acts. A collaborative project with the Sherman Contemporary Art Foundation in Sydney, this exhibition displays a combination of contemporary video art, cinema practices (The view from elsewhere) and artists’ performance videos (Small acts) in the Media Gallery at GoMA, featuring some fairly big names, including Mona Hatoum (Lebanon), Yoko Ono (Japan) and Nam June Paik (Korea). Within the dark, dark gallery screens of various shapes and sizes with two sets of headphones each offered the different works, with many artists are equally - if not more - intriguing than the big names in this particular show. Yoko Ono’s famous performance Cut Piece (1965 & 2003) - in which she invites audience members to cut pieces of her clothing away - is shown in a little theatre of its own at the end, or beginning if you like, of the exhibition. This work, seeing her strangely disempowered bit by bit, is clearly intended to be a draw card for this show and perhaps is, as it is extremely watch - able if only to consider Ono’s undeniable contribution to the profle of contemporary and performance art. Among the highlights for this reviewer are Journey of a Yellow Man no.13: Fragmented Bodies/Shifting Ground (1999) by Chinese Singaporean artist Lee Wen, whose silent journey through Brisbane streets as an obvious outsider - a freakish foreigner? a yellow alien? - is heartbreaking to follow, and the extremely fun Moslem (2008), by Kyrgyzstan - born artist Vyacheslav Akhunov. In Moslem an Uzbekistan local indulges his obsession of watching Western movies on a laptop whilst dressed as a cowboy and surrounded by props, even a presumably unusable bottle of whisky. His escape through cinema gives him a temporary second life; while the interesting sensory experience of contrasts between worlds is certainly a gift that well - executed video art such as this gives to us as viewers. Although these two works were most notable to me, so many others also have interesting messages combined with an impact from the participatory nature of the medium. Each work in the exhibition is described well on the GoMA website. In the lead up to the Sixth Asia Pacifc Triennial in Queensland this December, this exhibition does so much to build an appetite for Asian contemporary art. It should have many who are not onshore excited to attend or at least follow the APT 6, for the respect and professional insight with which the Queensland Art Gallery approaches the careers of Asian artists. The exhibition does not rival the video art shows sometimes held at Sydney’s MCA, but as support solely for Asian and Middle Eastern contemporary art it is wonderful, clever and so on target towards the continuing relevance and future of new media art. There is no doubt that this exhibition and accompanying catalogue have already proven invaluable in securing Asian artists greater respect in the cut-throat world of performance and video contemporary art, and in broadening the minds of the participating artists and any visitors lucky enough to attend. Suraya Warden is an International Art Consultant and an Art History & Curatorship First Class Honours graduate of the Australian National University. Journey of a Yellow Man no. 13: Fragmented Bodies/Shifting Ground (1999) by Chinese Singaporean artist Lee Wen Moslem (2008) by Kyrgyzstan-born artist Vyacheslav Akhunov Cut Pieces (1965 & 2003) by Japanese artist Yoko Ono Images courtersy : artists & GoMA, Australia YEOH KEAN THAI - COMMONWEALTH ART RESIDENCY AWARD WINNER 2009 Gifted, diligent and outstanding Malaysian artist YEOH KEAN THAI has won a prestigious Commonwealth Artist’s Residency 2009, awarded by the Commonwealth Foundation (UK). Six award winners were chosen by an internationally renowned panel of judges, in a highly competitive review and selection process, for this biennial prize. This year had a record number of entries from all Commonwealth regions and had only one winner from Asia-Thai. Yeoh Kean Thai opted to submit a proposal which varied from the standard form of travel to the Western Hemisphere. Believing in the richness of the environments provided in Asia itself, Thai will spend a number of months in Sri Lanka fulflling the objectives and specifcations of his residency proposal which includes study of the natural and social environments, tsunami affected areas, rebuilding efforts, and archeological sites - impressions of which are to be translated into works of art. Metal objects - common and uncommon-are the vocabulary of an artistic language developed by Yeoh Kean Thai. When Malaysian born Yeoh Kean Thai won the Phillip Morris Award for Malaysia with a large canvas work, stretched and interwoven within the hand crafted, patiently rusted and irregular metal frame - a fascination with all things discarded and rusted captured the attention of judges and observers. That award was in 1997 and Thai had pursued this aesthetic topic and focus for many years before, and would continue to do so for many years after. Thai’s technical skill is distinctive and outstanding. He is adept with pen/ink, with paint - and is developing skill with metal work. His thinking processes and investigations present images and arrangements referenced to issues and symbols of diaspora, marginalisation and integration, from historical and contemporary perspectives, using environmental issues as analogies. His work has been shown internationally and he was the frst Malaysian artist to be shown during New York’s Asian Art Week in 2008. His work was featured during the Beijing Olympics, in the East Asia Show, sponsored by the Chinese Ministry of Culture. He is a 2008 winner of the Freeman Fellowship, Vermont Studio Center. (For popular culture buffs, he has interestingly been recognized by Wikepedia with a dedicated biography.) The visual story of rust and metal, started with the antique coal iron, a ubiquitous object in his earlier works, which related a personal story of inheritance, both literal and fgurative. The coal iron was his grandfather’s and the frst personal gift to Thai from his father. E X H I B I T O N R E V I E W 20 S H A R I N G ISSUE #04 SEBIJI PADI GELANGGANG UNTUK PERMULAAN l oleh Ben Jaafar Sebiji Padi bukan sebuah komuniti seni seperti Matahati atau jauh lagi seperti Anak Alam tetapi ia merupakan semangat gelojak anak-anak muda yang terdorong ke arah usaha-usaha sebegitu. Menghasilkan karya, menyampaikan sesuatu mesej dan berpameran. Sebiji Padi merupakan sebuah studio seni yang telah ditubuhkan sekitar tahun 2007 oleh beberapa orang graduan UiTM Shah Alam, Selangor yang terdiri daripada 7 orang anak muda; Samsudin Wahab, Ruzzeki Harris, Tajol Azam, Haslin Ismail, Mohd Safwan, Zul Husni dan Meor. Menurut pertanyaan ringkas di email facebook mereka, apa maksud Sebiji Padi? Pelbagai reaksi dan intepretasi khalayak tentang maknanya, bagi mereka setiap orang boleh bagi open-intepretation tiada salahnya. Sebiji Padi ini lebih dilihat berlandaskan persahabatan dalam mencapai sesuatu individual objektif dan ia cuma sebuah landasan, pergerakannya perlulah seiring dengan usaha individu, tekad dan nawaitu dalam mencapai keinginan tersendiri. Sebiji Padi bak gelanggang seni untuk mereka, di samping menjadi tempat beradu dengan angan-angan yang berisi agar dapat menempatkan mereka di arus perdana seni visual kelak. Di ruang yang tersedia ini mereka menghasilkan karya-karya untuk berpameran di galeri-galeri swasta sebagai alas perut kosong, cari-cari makan dan memulakan karier sebagai pelukis sepenuh masa. Manalah tahu dari ruang sempit itu boleh tercipta sebuah karya agung yang menjadi rujukan dan rebutan instituisi, galeri atau kolektor. “So sound” di pembukaan pameran B.A.C.A RA FineArt Galeri Dari kiri, Ruzzeki, Meor, Azam, Haslin, Zul husni, Safwan dan Buden That iron, though largely autobiographical, represents broader narrative for social identity and memory, discernment and treasure. The objects used in Thai’s artistic language grew to include other culturally relevant tools:oil lamps, beetle nut crackers and then, to incorporate a modernized and contemporary world-Milo tins, wrenches and screws, chain links and saws. Metal itself is very relevant to South East Asia’s historical landscape because of the fortunes created and infrastructure developed, from tin mining. Colours, initially limited to a palette of earth and rust tones, have become symbolic in Thai’s work – in their own right. Metal and its qualities, permanence and rusting, have opened a world of possibilities to create an unusual language that visually speaks about the meaning of common and uncommon objects, in culturally specifc and cross cultural contexts. Yeoh Kean Thai is an artist of distinction whose choice to continue on the path less travelled has brought him deserved recognition. S H A R I N G 21 Di gelanggang Sebiji Padi inilah terhasil karya-karya yang dapat dianggap sebagai kontemporer dari segi isu, komentar sosial yang menyentuh isu ketegangan politik, konfik dan semasa. Catan-catan gelap, berparodi, cetakan bersatira Buden, catan-catan komentar, sosial realis dan surrealis Ruzzeki dan Azam, catan-catan gotik, kolaj, assemblaj Haslin, catan-catan Zul Husni dan Meor dan arca-arca dinding berekonstruk Safwan. Tak lengkap kalau, mereka tidak menjalankan kerja- kerja sosial dan bukan setakat berpameran di galeri sahaja. Mereka pernah membuat mural kolaborasi dengan studio lain di Jalan Nenas, K.L, mural di Universiti of Al Bukhary, Alor Setar, Kedah, arca awam di Capital Square, K.L dan akan datang projek tertangguh mereka iaitu Open Studio. Ada diantara mereka telah pun berpameran solo dan mengikuti residensi program di HOM (House of Matahati) dan Rimbun Dahan. Antara mereka ada yang sudah mula meningkat nama di tanah asing seperti berpameran di Singapura dan pameran UN-CUT, di Denmark. Sebagai pelukis muda, program-program seperti ini perlu direbut untuk mencari pengalaman, mengukuhkan profl dan karier. Di Sebiji Padi, mereka menghidupkan suasana seperti bekerja di studio. Menghasilkan karya, lepak, sesi kritik sesama sendiri, bermain musik dan enjoy. Di kalangan mereka juga menjadikan Sebiji Padi sebuah ruang bereksprimentasi dengan musik dan pernah menerima beberapa jemputan di pembukaan pameran, acara-acara seni seperti Artport, Papakerma, Layar tancap dan banyak lagi. Musikal eksperimen mereka dinamakan ” So Sound” dengan alat musik konvensional seperti gitar, bass gitar, keyboard dan bantuan software, tayangan slide, dan bunyian-bunyian pekik dan ambience. Sekali dengar seperti ada pengaruh-pengaruh musik Mogwai, Explosion in the sky, Akta Angkasa atau Kamal Sabran. Kumpulan musik ini tidak terikat dengan kebanjiran ahli yang sering bertukar ganti dan ada juga kolaborasi dengan rakan-rakan luar yang sama minat, apa yang penting semuanya menjadi BUNYI. Selain minat bermusikal, mereka juga sering membuat Performing Arts di pembukaan pameran seperti di Patisatu Studio, Buka Mata Studio Kala Jingga, Friction, Prologue 360 Galeri, B.A.C.A di RA Fine Art Galeri, Frinjan dan banyak lagi. Kepekaan terhadap persekitaran mereka membantu untuk Tabung Save Gaza dengan memberikan karya cetakan lino yang dihasilkan bersama - sama kepada penderma-penderma yang ikhlas menderma untuk bumi Palestin. Semuga usaha-usaha murni sebegini sering dipraktiskan untuk membantu mereka-mereka yang memerlukan. Sebiji Padi gelanggang untuk permulaan.......... Rujukan & interview: Wak & Zul menerusi facebook/ studiosebijipadi Gambar: Ben Jaafar, facebook/fadlysabran,facebook/zulhusni, facebook/studiosebijipadi Buden sedang bercerita tentang Projek amal “ Tabung Save Gaza” kepada pelawat pameran. “So sound” di pembukaan pameran B.A.C.A RA FineArt Galeri B S L N P R O G R A M S A N D A C T I V I T I E S 22 Sawadeekaa 1 . Oleh kerana ini adalah cubaan pertama saya menulis jadi saya mungkin akan tertinggal beberapa perkara yang penting untuk dikongsi bersama pembaca. Saya akan cuba sedaya upaya untuk menceritakan pengalaman saya tentang program yang telah membawa saya terbang ke Thailand. Program ‘Art for All’ merupakan satu-satunya program bertemakan ‘kesenian’ yang memfokuskan penglibatan golongan kurang upaya. Program ini adalah program tahunan anjuran Kementerian Kebudayaan Thailand yang telah diasaskan sejak 13 tahun lalu atas usaha Prof. Dr Channarong Pornrungroj. Art For All Foundation, Faculty of Fine and Applied Arts, Chulalongkorn University dan United Nations Economic and Social Commission for Asia and the Pacifc (UNESCAP) juga turut bekerjasama dan memberikan sokongan. Selain daripada itu, deligasi negara ASEAN 2 , sukarelawan dari Amerika Syarikat dan Australia juga terlibat menjayakan program ini. Seperti yang diketahui umum, Thailand satu-satunya negara di Asia Tenggara yang tidak pernah dijajah oleh kuasa Eropah. Perkataan ‘Thai’ itu sendiri berasal dari Bahasa Thai yang bermaksud ‘bebas’. Gabungan perkataan land menjadikan maksud Thailand ialah ‘negara yang bebas’ (merujuk kepada sejarah di era penjajahan). Walaupun terdapat konfik dan selisih faham di antara cendiakawan mereka tentang maksud sebenar perkataan ‘Thai’ tetapi itu tidak dijadikan isu besar. Thailand sangat kaya dengan kesenian dan kebudayaan. Sifat lemah-lembut dan hormat-menghormati telah diterapkan sejak dari kecil dan secara tidak langsung telah membentuk keperibadian yang sangat teguh 3 dikalangan remaja dan belia Thailand. Sifat ini dapat dilihat melalui cara mereka memberi salam sesama mereka atau kepada tetamu (baca: orang luar, pelancong dan lain-lain). Keperibadian sebeginilah yang cuba ditekankan, diterapkan dan diketengah di dalam Program Art For All : hidup bebas tetapi masih menghormati hak dan batasan individu (baca: manusia) lain. Secara direct translation program ini bertujuan untuk membina kerjasama antara individu normal dan golongan kurang upaya bagi membentuk masyarakat yang harmoni. Program ini mengambil konsep summer camp di mana setiap peserta tinggal dan melakukan aktiviti bersama di dalam sebuah resort. Peserta kem ini terdiri daripada kanak–kanak pendalaman Thailand (hills tribe: yang kurang mendapat sumber pendidikan), kanak-kanak dan golongan belia kurang upaya (secara fzikal ataupun mental) dan golongan sukarelawan yang terdiri daripada remaja normal berumur 16 hingga 22 tahun. Program ini sebenarnya merupakan salah satu inisiatif kerajaan Thailand untuk membina dan memupuk semangat tolenrasi generasi muda (baca : sukarelawan normal) bersama mereka yang kurang upaya untuk bekerjasama dan bantu membantu antara satu sama lain. Kepelbagaian cabang di dalam bidang seni seperti seni visual (melukis dan membentuk arca), seni persembahan (menari, menyanyi dan berlakon) dan sains sosial digunakan untuk menjadi bahantara interaksi dan komunikasi sesama mereka. Secara tidak langsung, pergaulan tersebut telah memupuk sifat kesedaran dan tanggungjawab secara perlahan- lahan. Kem ini boleh dipandang sebagai satu peluang (batu loncatan) kepada kanak-kanak dan belia yang mempunyai potensi di dalam bidang kemahiran seni (terutamanya kanak-kanak dan belia kurang upaya) untuk menimba pengalaman. Pengalaman berinteraksi dan berkomunikasi sepanjang menjalani kem ini adalah bermanfaat untuk digunakan sewaktu berhadapan dengan masyarakat dan dunia luar (baca: realiti). Penerokaan potensi dan kemahiran yang ada pada mereka juga boleh digunakan untuk mereka survive di dunia luar dengan berdikari sendiri seperti manusia normal lain. Selain daripada itu, kem ini masih mengekalkan nilai-nilai tradisi etnik dan budaya yang terdapat di Thailand seperti bermeditasi, memberi penghormatan kepada Buddha dan Raja Thailand serta menekan nilai-nilai murni yang diamalkan menurut kepercayaan penganut Buddha. Kem ini juga secara tidak langsung boleh di anggap sebagai terapi bagi mereka yang kurang upaya untuk membina keyakinan diri dan salah satu cara untuk mereka mengekspresi diri ART FOR ALL : KE’ISTIMEWA’AN DIHARGAI Nakhon Nayok, Thailand 2 - 7 Julai 2009 l oleh Bed Samat ISSUE #04 Mat Jamil (artis OKU Malaysia) terlibat sebagai tenaga pengajar Bergambar kenangan selepas mengikuti bengkel ‘membuat topeng’ 23 B S L N P R O G R A M S A N D A C T I V I T I E S mereka melalui aktiviti yang disediakan. Bagaimanapun di Malaysia, program yang melibatkan orang kurang upaya amatlah sedikit dan terbatas. Jika ada, program yang dijalankan seakan bias kepada golongan ini kerana program tersebut lebih seperti menagih simpati masyarakat sehingga membina persepsi bahawa kekurangan yang ada pada mereka membuatkan mereka tidak mampu berdikari (baca: tidak mampu berbuat apa-apa). Walhal, masyarakat sebenarnya tidak didedahkan dengan keupayaan dan kemampuan mereka yang sebenanrnya. Jika diberi peluang, mereka boleh jadi lebih hebat jika ingin dibandingkan dengan manusia yang di anggap normal (baca: sempurna). Jika program seperti ‘Art for All’ dilaksanakan, masyarakat akan memahami dan menyedari bahawa golongan istimewa ini juga mampu berdikari, mempunyai kelebihan mereka tersendiri dan mampu menjalani kehidupan sama seperti manusia biasa. Kepelbagaian kaum dan bangsa di Malaysia menjadikan Malaysia sebuah negara yang unik. Walaupun bebas mengamalkan kebudayaan dan adat resam masing-masing, masyarakat dan rakyat tetap hidup dalam keadaan harmoni. Penglibatan anak muda (normal) sebagai sukarelawan secara ikhlas (tanpa paksaaan ataupun sogokkan wang poket) juga harus diterap dan ditekankan kerana secara tidak langsung perlakuan secara ikhlas akan membina jati diri dan integriti yang tinggi di dalam diri anak muda tersebut. Jati diri dan integriti ini penting bagi golongan remaja dan belia untuk membina dan mempertahankan sesebuah negara untuk terus harmoni. Secara tidak langsung juga akan mengurangkan aktiviti-aktiviti yang tidak berfaedah yang melibatkan kebanyakkan belia dan remaja di Malaysia. Program ini akan menambahkan lagi kesedaran kepada masyarakat tentang satu lagi golongan yang agak tersisih, iatu golongan kurang upaya. Jika program in dapat dilaksanakan barulah nampak lengkapnya Malaysia kerana dapat dibuktikan bahawa nilai-nilai murni dan kesedaran itu masih wujud walaupun di dalam era manusia lebih mementingkan nilai material daripada budi bahasa dan nilai murni sesama insan. Walaupun agak sukar pada permulaanya untuk dilaksanakan, tapi percayalah lekuk batu dititik air selalu*, pasti akan berjaya. *Lekuk batu dititik air selalu merupakan peribahasa Melayu yang bermaksud biar bodoh sekalipun jika belajar dengan bersungguh-sungguh, nescaya akan menjadi pandai juga. (Sumber : Kamus Istimewa Peribahasa Melayu : 2008-2009 : Dewan Bahasa dan Pustaka) 1 Ucapan salam bagi perempuan, manakala Sawadeekap adalah ucapan salam bagi lelaki. 2 Negara ASEAN yang terlibat di dalam program ini untuk 2009 ialah : Brunei, Cambodia, Loas PDR, Myanmar, Malaysia, Filipina, Vietnam, Singapura dan Thailand. 3 Teguh (disini) merujuk kepada asas tradisi yang kuat, kuat hati (mengikuti dan mangamalkan ajaran Buddha) dan kesetiaan yang tidak berubah-ubah terhadap Raja Thailand. ISSUE #04 Persembahan nyanyian dari deligasi Vietnam Peserta bengkel ‘mouth and foot’ painting artist Sukerelawan (berbaju hijau) dan peserta berkerjasama membina ‘waring friendship’ Bekerjasama membina ‘banner’ untuk Art for All B S L N P R O G R A M S A N D A C T I V I T I E S 24 Bengkel Lukisan Berus Angin Topi Keledar ‘1Malaysia’ | Julai - November 2009 Bengkel ini merupakan susulan pasca pelancaran Pertandingan Catan Muralis Kontemporari ‘1Malaysia’ yang telah dilancarkan oleh Menteri (KPKK) YB Dato’ Seri Utama Dr. Rais Yatim pada 15 Julai 2009. Ini merupakan salah satu usaha melaksanakan semangat dan kefahaman ‘1Malaysia’ melalui seni visual. Bengkel ini berlangsung dari bulan Julai sehingga November 2009 yang melibatkan beberapa negeri antaranya ialah Kuala Lumpur, Pahang, Melaka, Perlis, Sarawak dan Sabah. Tujuan bengkel ini adalah mencipta kesedaran dan peduli kempen ‘1Malaysia’ melalui seni visual. Sasaran bengkel ini ditujukan khas kepada golongan remaja dan belia bermotosikal supaya mereka dapat mempelajari dan mempraktikkan teknik dan kemahiran melukis dengan berus angin di atas topi keledar. Di samping itu, bengkel ini dapat memberikan kemahiran dan pengisian masa yang lebih berfaedah, dapat menjana pendapatan serta menyemai minat dan semangat ‘1Malaysia’ yang diseru oleh kerajaan. “MALAYSIA : OASIS Membeli Belah anda” PAVILION Kuala Lumpur | 4 Julai – 31 Ogos 2009 BSLN dijemput oleh Pavilion Kuala Lumpur untuk mengadakan pameran dan jualan hasil seni sempena Karnival Jualan Mega 2009 di pusat membeli belah tersebut dari 4 Julai sehingga 31 Ogos secara giliran setiap hujung minggu. Karnival ini merupakan anjuran Kementerian Pelancongan Malaysia dan Pavilion Kuala Lumpur telah dipilh sebagai hos pelancaran Karnival Jualan Mega Malaysia yang bertemakan “Malaysia: Oasis Membeli Belah Anda”. Tampannya Budi | 21 Ogos 2009 Berkonsepkan kesusasteraan Melayu yang bertemakan pantun, syair, gurindam, seloka, pepatah Melayu lama, peribahasa dan sebagainya diolah menjadi karya visual yang diberi tajuk Tampannya Budi. BSLN telah bekerjasama dengan Institut Kajian Etnik (KITA) dan Universiti Kebangsaan Malaysia (UKM) yang buat julung kalinya telah dirasmikan oleh YABhg Tun Mahathir Mohamed. Pameran ini menyajikan sejumlah 127 pelukis dan 163 buah karya yang telah diadaptasi dalam pelbagai medium hasil adunan bahasa teks dan bahasa visual yang menjadi wadah menarik oleh pengkarya tanahair. Tampannya Budi bertujuan untuk menyuntik masyarakat Malaysia mengenali dan menghayati genre-genre klasik yang diilhamkan ke dalam bentuk komunikasi seni visual agar menjadi santapan terutama kepada generasi muda. Program Dataran Budaya Kuala Lumpur | 15 Ogos - Disember 2009 Meletakkan Dataran Merdeka dan Bangunan Sultan Abdul Samad bagi tujuan untuk mempromosikan Kuala Lumpur sebagai Pusat Kesenian Antarabangsa.Kementerian Penerangan, Komunikasi dan Kebudayaan memainkan peranan menganjurkan Program Dataran Budaya sebagai tempat tumpuan aktiviti seni budaya dan warisan. BSLN sebagai salah sebuah agensi kementerian ini, memainkan peranan untuk memberi ruang kepada penggiat seni berkarya dan memberi peluang kepada orang ramai menyertai aktiviti seni budaya terutamanya kepada generasi muda. Pelbagai persembahan kesenian, jualan, demonstrasi jualan dan permainan alat muzik, jualan dan demonstrasi makanan warisan, demonstrasi permainan tradisional serta tayangan flem dan dokumentari akan disajikan kepada tumpuan pelancong dan masyarakat Malaysia dari pelbagai kaum serta peringkat umur. Program ini akan berlangsung pada setiap hari Sabtu daripada jam 6.30 ptg-10.30 mlm dari bulan Ogos-Disember 2009 (kecuali bulan Ramadan) Sidang Akhbar Pertandingan Catan Muralis Kontemporari ‘1Malaysia’ | 12 Jun 2009 - 31 Ogos 2009 Sidang Akhbar Pertandingan Catan Muralis yang berlangsung di Kementerian Penerangan, Komunikasi dan Kebudayaan adalah urutan daripada saranan YB Dato’ Seri Utama Dr. Rais Yatim, untuk menjadikan lukisan catan bersaiz besar yang mudah alih sebagai tarikan masyarakat menghayati konsep ‘1 Malaysia’. Pertandingan ini juga adalah acara muhibah sempena sambutan kemerdekaan yang ke-52. Objektif BSLN menganjurkan pertandingan ini, untuk menjadikan budaya tampak sebagai wadah visual penting dalam penyebaran dan penghayatan dasar-dasar kerajaan. Ianya dapat membina suasana daya saing positif pelukis-pelukis muda dan menyemarakkan semangat kecintaan yang tinggi kepada negara melalui rasa keupayaan dengan kerjasama untuk membina ‘1 Malaysia’. Pertandingan ini memberi peluang kepada warga Malaysia yang berminat untuk meraih hadiah yang lumayan. THE COMPETITION IS DIVIDED INTO THREE - 3 - MAIN CATEGORIES : CATEGORY A – Traditional Art Calligraphy Spontaneous on Paper:Participants in this category are give three hours and required to write their art calligraphy during that time. The competition will be held at the Islamic Arts Museum Malaysia on 31st October 2009 from 10.00 am to 1.00 pm. CATEGORY B – Art Calligraphy Painting on Canvas: Participants in this category are required to choose one calligraphy styles from the three styles given (Riq’ah, Thuluth or Naskh). CATEGORY C – Art Contemporary Calligraphy Painting on Canvas : Participants in this category may choose calligraphy styles other than those already mentioned in Category B. For example, Kufi, Diwani or Zukhrufah. Synopsis : The Islamic Arts Museum Malaysia (IAMM) will hold its fourth National Art Calligraphy Competition this 31st October 2009. The calligraphy competition was well received when it was first held at the Islamic Arts Museum Malaysia in 1999, and subsequently in 2001 and 2003. The competition is a continuous event organised by the Islamic Arts Museum Malaysia in association with the National Art Calligraphy Association (Persatuan Seni Khat Kebangsaan) and supported by Kumpulan Utusan, Astro Oasis and Institut Kefahaman Islam Malaysia (IKIM). This competition is held with the aim of further promoting the talent of our calligraphers from all walks of life, showcasing their skill and creativity. To date, the popularity of the competition has proved that Malaysians, young and old, from different backgrounds, are open to the idea and keen to pursue this hobby to professional standards. THE ISLAMIC ARTS MUSEUM MALAYSIA All artworks for Category B & C are required to be submitted to the Islamic Arts Museum on or before 31st October 2009. The competition is open to adults and students under the age of 18 years old residing in Malaysia. Winners will receive cash prizes of more than RM30,000, a Certificate of Participation and a trophy. Entry forms to obtain the Terms and Conditions Booklet for the competition can be obtained on Utusan Melayu Mingguan (on 24th Aug. 2009) and Utusan Malaysia (on 21st & 28th Aug. 2009). For more information or to register for the competition, please contact the Islamic Arts Museum Malaysia at 03-22705111 / 5101 / 5103 or fax at 03-2272 5346 or email Islamic Arts Museum, Jalan Lembah Perdana, Kuala Lumpur Tuesday - Sunday & Public Holidays at 10 am - 6 pm Closed on Mondays www. i amm. o r g. my National ART CalligraphyCompetition Mani f estasi Per dana Seni Khat Disediakan oleh Ismaliza Imagine a living room with three middle-aged women having tea one evening while having a chat with each other. There is a Malay lady, Puan Azizah, an Indian lady, Mrs. Gopal and a Chinese lady, Mrs. Tan. All three were casually talking and eventually, the stories of their children were discussed. “So, Mrs. Gopal, tell us about Prakash. I heard he just came back from London studying engineering,” Mrs. Tan starts while sipping her tea. “Oh, yes! Indeed, Prakash just recently graduated and came back for good. Just two days ago, he was scheduled for an interview for an engineering trainee position. He sounds confdent of getting the job!” replied Mrs. Gopal full of pride for the success of her son. “What about Alvin, Mrs. Tan?” “My son is doing fne. He is so hardworking. Just four months into his work and he is already promoted to a supervising role. Sometimes, I do miss him. He is so busy at work that he does not come home early anymore,” Mrs. Tan bragged with a smile drawn upon her face with full satisfaction. “Puan Azizah, how is Arif doing?” “My son? He’s an artist,” came a simple reply. “Oh … is that so?” Penang is indeed and art city, After the installation of a huge sculpture, ‘The Winds of Penang’, in front of Komtar by Katsumi Mukai, the Penang Sculpture Trail Project is initiating the installation of yet another huge sculpture at Upper Penang Road between 12pm-3pm of the 5th September. On the 5th September morning, four pieces of solid marble each weighing 2 tonnes shall be transported from St. Nicholas Home to the selected site at Upper Penang Road. The artist, Kikuchi Mitsuo has been working on the sculpture at St. Nicholas Home and fnally, they are ready to be installed at site. The frst piece of the marble sculpture is installed on the 5th Spetember marking the set-off of the Sculpture Trail. This installation work will take around 10 days to completion starting 5th September. The Sculpture Trail Project is a collaboration work between MPPP, State Art Gallery and the artists. The public is invited to the installation site to witness the setting off of the sculptural trail. Please see attached for location map. Does that seem common? Why is it so that when a parent admits that their child is an artist, the general public seems to shun them as unimportant? Is the profession of an artist any less as compared to those of business economics or sciences? While it is true that over the last few decades since the independence of Malaysia has taken place, our economy has boosted to a status worthy of recognition while the development of the science feld has allowed the nation to discover wondrous things. The various developments of Malaysia have undoubtedly made an improvement on our lifestyles and affected the comfort of living bringing it to a whole new level of advancement. However, we cannot and must not forget who we are. Many people do not realize this but art is a representation of our culture. It is a way of depicting our scene as well as a language that expresses and interprets who we really are as a nation. It gives us as Malaysians a character which well represents our way of life. Sometimes, when we are so caught up with absorbing knowledge from other nations for the better of our own, we do not realize that we are also taking in cultures from a foreign land. While it is not wrong to do so, we tend to forget our roots and start implementing foreign cultures as our own resulting in an abandoning of our traditions. Instead of a controlled assimilation of culture diversity, we end up using it as a replacement. In my opinion, this behavior subconsciously denotes a search for approval of foreign culture, but why should we strive for something that was never asked of us in the frst place? In another nation, our ways may seem different to the people there, but the same happens when others come to our land. We do not ask them to live like us because we accept them for who they are, so why should we throw away our lifestyle to please others? Malaysia is a mixed up society with many diverse race and religion, each with its very own cultures and traditions. Such a colourful land which somehow manages to fnd a way to harmonize with each other opens many doors to potential! How then, can we not make use of this opportunity to paint a picture of pure diverse awesomeness? The visual which formed in my mind as I write this article is so overwhelming that just the thought of it could make me gasp breathlessly for air! Every artwork about Malaysia produced is a documentation of what identity we hold. It is a forefront to the world which carries the impressions which we want to imprint on other nations and be recognized for it. This is where the job of Malaysian artists stands important. We are not encouraging that every parent should send their children to take up arts. The fact remains that while some are capable in producing art, others may not be able to. However, it is important that all parents should teach their children to appreciate art. When there is a need for art to be appreciated, art will continue to be produced. As a result, art will ensure a continuity of culture development in our nation. The importance of art appreciation in the children is undeniable because it paves a way for them to understand the land on which they live in. This in turn teaches them to accept and learn to live in harmony with one another. Art, when appreciated properly, will instill a sense of belonging and a sense of pride to the people. So parents of artists, the next time a discussion is held on the professions of your child, do not be ashamed to say that your child is an artist because you know where artists stand in importance. In fact, be proud of who they are and the contributions that they are capable of producing for our nation. Be proud to say … My child is a MALAYSIAN artist! M Y C H I L D IS A M A L A Y S I A N A R T I S T ! l b y S e k i N g S e k Y an 25 O P I N I O N THE WINDS OF PENANG – THE PENANG SCULPTURE TRAIL PROJECT Kikuchi at work Hoisting BSLN Publication 26 ALIF BA TA : RIWAYAT HIDUP AHMAD KHALID YUSOF Sebuah penerbitan khusus yang diterbitkan bagi memperkenalkan pelukis negara kepada pelajar sekolah. Untuk siri permulaan pelukis Ahmad Khalid Yusoff telah dipilih untuk didokumentasikan riwayat hidupnya. Buku ini menceritakan kehidupan dan pengalaman pelukis Ahmad Khalid Yusof dalam bidang seni lukis. 2004 ISBN 983-9572-69-5 RM 10 VISION AND IDEA : RELOOKING MODERN MALAYSIAN ART 1994 / WAWASAN & IDEA MELIHAT SEMULA SENI LUKIS MODEN MALAYSIA Sebuah penerbitan yang mengimbas kembali bidang seni lukis moden di Malaysia dan hubungannya dengan perkembangan sosio budaya negara. 1994 ISBN 983-9572-01-6 RM 100 MOSAICS OF MALAYSIA Katalog pameran Mosaics Of Malaysia menyingkap keindahan dan keharmonian kebudayaan Malaysia yang berbilang kaum dari kacamata pelukis Zhang Zhou berasal dari Wilayah Lioning di Timur Laut China yang juga sebagai Pelukis tamu(Resident Artist) galeri Daiichi. Karya-karya ini merupakan himpunan dari Koleksi Encik Tai Keik Hock pemilik Galeri Seni Lukis Moden Dai Ichi di Sungai Petani, Kedah. 29.5 cm x 28.5 cm 170 m/s 2009 ISBN 978-983-3497-39-3 RM 150 TAKUNG Mendokumentasikan Explorasi Seni Tasik Banding. Katalog ini menampilkan karya-karya yang mewakili pelbagai luahan introspeksi diri dan terjemahan intrinsik/ ekstrinsik yang tercetus dari pelbagai faktor pengalaman manusia berhubung dengan persekitaran sistem ekologi di Tasik Banding. 2005 ISBN 983-9572-96-2 RM 45 ARUS - SENI ELEKTRONIK KONTEMPORARI DARI AUSTRALIA / FLOW : CONTEMPORARY ELECTRONIC MEDIA ART FROM AUSTRALIA AND MALAYSIA Katalog yang menerokai seni multimedia dan mengabung seramai 5 pelukis Malaysia dan 6 pelukis Australia yang bergiat cergas dalam bidang seni multimedia. Pelukis Malaysia yang mengambil bahagian ialah Hasnul Jamal Saidon, Kunyu Liew, Tengku Sabri Tengku Ibrahim, Ivan Lam, Emil Goh manakala Australia ialah Destiny Deacon, Micheal Riley, Patricia Piccinini, Stephen Birch, Robyn Backen dan John McCormack. Karya berbentuk instalasi tayangan video, seni animasi komputer interaktif, sinaran gentian optik dan laman web yang berjudul E.Art Asia online. Diusahakan bersama di antara Galeri Seni New South Wales, Australia dan BSLN dengan kerjasama Kedutaan Australia, Malaysia dan Asia Link. 39.8 cm x 28.5 cm 28 m/s 2009 ISSN 1985-7233 RM 20 TAMPANNYA BUDI – THE BEAUTY OF THE MALAY INTELLECNT Hasil daripada pengumpulan data oleh ATMA,UKM mengenai pelukis-pelukis Melayu serta penglibatan mereka dalam bidang seni visual yang menjadi sebahagian daripada warisan dan kesenian budaya Melayu. 2009 ISBN 978-983-3479-429 RM 100 All publication can be purchased at the Gallery Shop located at National Art Gallery. For enquiries please email to [email protected] TO ADVERTISE IN PLEASE EMAIL TO... [email protected] 21 September – 4 October 2009 Ayala Museum Makati Avenue corner De la Rosa Street, Makati City, Philippine Lecture-Demonstration 22-23 September 2009, 9am-5pm Luna and Amorsolo Rooms Ayala Museum Additional support is provided by Philippine High School for the Arts www. h a d r i a n me n d o z a . c o m According to Johan dreams stimulate a combination of surrealism and denial of responsibility, yet they cannot be ignored. Dreams are capable of indulging and also disturbing our everyday lives – when our dreams open us up to the possibility of nightmares. Dreams are considered to be a series of images, ideas and emotions that visit our mind at certain stages of sleep. Sigmund Freud considered dreams to be an expression of the deepest fears and desires of the dreamer. There is also the theory of lucid dreaming, or conscious dreaming , which questions our very existence in the so-called real world. The deep substance of history and philosophy hidden behind the term ‘dream’ interests Johan greatly. This exhibition consists of a series of digital illustrations and video work that depicts various indistinct dreams and indulgences. This is an exploration of the strength of human soul and how it handles perceptions of reality. Are we surrendering to an indulgent life style or is the reality that we view just an extraordinarily clear dream? These expressions stem from both personal experiences and also observation of certain negative aspects of daily life in Australia and Indonesia. Johan says, “ These works of mine feel like the fruits my subconscious mind’s attempts to talk to me. Now I present to you what I have found hidden in the corners of my mind. Please enjoy the works and may you be carried away by your own dreams. ’MIMPI-MIMPI YANG MEMANJAKAN DIRI’ – INDULGENT DREAMS Solo Exhibition of the Visual Art of Johan Marais-Piper a.k.a Jomapi 7 – 23 Aug 2009 Jogja Gallery, Yogyakarta Phone/SMS +62 274 761188, 0888 696 7227 email [email protected], [email protected] http://jogja-gallery.com CHANGING PHASES: Relative Spaces explores the development of Malaysian art practices, examining the contemporary social environment of Malaysia and its relationship with its ASEAN neighbours since the 1950s, with selected artworks from the PETRONAS Art Collection. Curated by Shireen Naziree, prominent South East Asian art historian, this exhibition also presents the works from the PETRONAS Art Collection as markers of Malaysian visual history. It offers a visual journey into the development of modern Malaysia – visitors will be able to witness and experience rarely- seen historically-signifcant artworks by established Malaysian-born artists. Their art will take visitors through the social development and economic growth of the country, depicting the evolution of the Malaysian psyche and identity into the progressive nation as we know it today. CHANGING PHASES : RELATIVE SPACES 7 Aug- 18 Sept 2009 Galeri Petronas, Level 3 Suria KLCC Tel : (+60)3-20517770 www.petronas.com.my TRIBUTE to LEE JOO FOR in CELEBRATION of HIS 80 TH BIRTHDAY 12 Sept - 12 Nov 2009 Art Salon @ SENI Gallery, Mont’ Kiara, Kuala Lumpur 10am to 6pm (closed on public holidays) 03-6203 1919 or call Ee Lene at 012-6041434 http://www.theartgallerypg.com Born in Penang in 1929, John Lee Joo For will be celebrating his 80 years birthday on August 25th. He was an art teacher in St Xavier’s Institution, Penang from 1948 to 1957. He pursued his art education at various British art schools, starting with Brighton College of Art (1957 to 1958), Camberwell College of Art (1960 to 1962), culminating in a 2 year post-graduate scholarship at the prestigious Royal College of Art, London (1962 to 1964). Besides art, he is a prolifc printmaker, writer, novelist, playwright, director, lecturer and art critic. For three years running (1969 to 1971), he won the Malaysian Drama Festival Best Playwright of the Year prize and Best Radio Playwright in Singapore in 1969. He was instrumental in revolutionising and modernising the theatre and stage in both Malaysia and Singapore in the sixties. His play “Son of Zen” was staged at the Loft Theatre, off Broadway, New York. At the height of his fame, he migrated to Australia in 1973 to seek treatment for three of his fve children who developed muscular dystrophy as well as for more freedom of expression. He led a quiet life as an art lecturer in Melbourne till 1990 when he returned to the Malaysian arts scène with a vengeance. He was invited by The Art Gallery, Penang to hold several solo exhibitions, including a retrospective exhibition in 1995. He also had a solo exhibition at Art Salon, Kuala Lumpur in 1996. From 1995, his paintings were accepted for auctions at Christie’s and Sotheby’s auctions of S.E. Asian Paintings in Singapore. The Art Gallery, Penang published two art-books for him, Lee Joo For Retrospective Catalogue, (1995) and My Name is Fire- The Art of Lee Joo For (1999). In addition, in 1996, the gallery also published his novel Sara and Sanjiro (co-authored with his son-in-law, Stephen Gray) and his musical, Confucius Sings. He is a master symbolist and his favourite symbol is the horse. In his words, “My horse is more than a horse. My horse is humanity. I try to transcend the horse as a simple representation of reality. In Picasso’s ‘Guernica’, I saw the psychological side of horses. It can scream for justice”. Currently, he is living in Melbourne but he travels to Malaysia, especially Penang regularly to visit his relatives and friends. He was honoured with a retrospective exhibition at the Penang State Art Gallery in November 2008 together with the publication of a hard-cover 328 page monograph of his works. Despite his being kept busy by his painting, he also fnds time to write and direct musicals and plays. His musical ‘’Call of Guadalupe” was staged in Darwin in May, 2007. He produced Saul Saul, Paul, Paul in 2008. Last year, he directed the passion play in Melbourne. He has just completed his latest musical, Francis of Assisi, which will be staged next year in Australia. I am sure all of us would like to wish Joo For a happy birthday, and wish him many more years of happy, healthy and productive life. NATIONAL DAY ART EXHIBITION 2009 15 August – 3 September 2009 City Art Gallery, Jalan Ampang, KL. Daily 11.30am – 6.30pm 03-27753933 In conjunction with the nation’s 52th year of independence more than 100 Malaysian artists hold a joint exhibition to demonstrate their patriotism and express their feelings for the country through their creative works. The paintings depicting our landscape, lifestyle and culture. Participating artists include Abdul Rasid Yusof, Cheah Yew Saik, Cheung Pooi Yip, Fung Yow Chork, Goh Lye Hock, Loo Hooi Nam, Suzlee Ibrahim, Tew Nai Tong, Yong Look Lam, Zaharuddin Sarbini etc. this new series of work refects the collaboration between Agus and currator Farah Wardani, on their identities as the average Indonesian Muslim. Drawing inspiration from prayers, Agus uses colour, texture and repetitive shapes to explore and interpret these prayers visually. RECITE! : Indonesian artist Agus Baqul Purnomo’s solo exhibition 12 Aug – 5 Sept 2009 Valentine Willie Fine Art, Bangsar 03-2284 2348, [email protected] www.vwfa.net SG101 ART presents, RETHINKING THE NANYANG Saturday, 26 September 2009 3. 15pm to 5pm A forum session where academics, curators and artists will examine Nanyang’s dominant position and social framework in Singapore art history, addressing diverse issues such as identity construct, narrative gaps, social/stylistic trends, as well as the diffculties in advancing research in this topic. THE NANYANG STYLE Saturday, 3 October 2009 The panelsspeakers will share their exploration on the infuences and interpretations of the Nanyang Style. National Library Singapore Level 5, Possibility Room www.//golibrary.nlb.gov.sg What does it mean, Vib-ra-fon? Our brains automatically compute notions of vibration, a vibe, or pulsating and resonating energy – a defnition confrmed when standing in font of one of Tony Twigg’s most recent timber artworks. But when we pick up the dictionary, no such word exists. Vib-ra-fon is an optical show. Continuing from Twigg’s exhibition “Expanded discs”, previously shown in Singapore and Manila, this new group of constructions uses the same foundation - a circle stretched through linear space. But in these forms Twigg is more acutely alert to the way we read the object. It is a conversation between positive and negative space, pushing and pulling our eye through a set of complex spatial relationships. VIB-RA-FON [new work by Tony Twigg] Gallerie TAKSU, 17 Jalan Pawang, Keramat Hujung Kuala Lumpur 20 Aug- 12 Sept 2009 Opened Monday to Saturday, 10am-6pm http://www.taksu.com W H A T ’ S O N 27